Sarah Hickey is a songwriter and artist from Glanmire, Cork. With a style that blends folk, rock and pop influences, Sarah’s songs are defined by their introspective lyrics, emotive melodies and a quietly magnetic presence.
Following years spent writing, recording, and performing, Sarah released her debut album ‘Fastener’ in November 2024 and now her second album is due for release February 2026.
Sarah has performed in venues all over Ireland such as Coughlan’s, Connollys of Leap,
Kennys and Whelans and has toured across the UK, Lithuania, and Germany. Her
performances range from headline shows to festivals to support acts opening for artists such as John Spillane, The Frank and Walters, Rónán Ó Snodaigh and Myles O’Reilly.
Alongside her solo career, she also works as a backing vocalist performing alongside artists including Fionn Regan, Leif Vollebekk, and Angie McMahon.
Sarah Hickey is also immersed in the visual aspect of her music. She creates the cover art for her releases. The artwork is a visual representation of the music’s lyrical content and overall feel.

Last Goodbye - Jeff Buckley

When I first started listening to Jeff Buckley I was about 19 or 20 and I immediately became obsessed. I would search for any interview or live performance I could find and listened to his album Grace over and over and over. I found his voice and songwriting and performance completely mesmerising.

Both Sides Now - Joni Mitchell

This orchestral version of a very famous Joni Mitchell song completely floored me the first time I heard it. I remember listening to it for the first time in the kitchen and being totally enthralled with it. There’s such depth to the song and this performance especially as she performed it this way so many years after the original release. It gives the song a completely different feeling.

Polaroids - Shawn Colvin

I’ve been really influenced by Shawn Colvin. I love her writing style and performance style a lot. This song pulls me in from the very start. The rhythm, lyrics and melody are brilliant.

Go Home - Lucius

This song makes me feel terrible in the best way. I think when a verse is so good you can put it in a song twice, you’re onto something. The imagery is so interesting and beautifully written and the raw emotion in the performance of this song is so moving and inspiring.

Changer - Andy Shauf

I can’t really say why but when I heard this song for the first time I just played it over and over for about an hour straight. I often loop this song in the car. I think it always feels right to hear it a few times in a row. Theres something so unusual about it that I always feel drawn to. His newest album ‘Norm’ is also a beautiful album that I am definitely inspired by.

Come Around Sundown - Kings of Leon

I always play this album in the car. I think I always will. Theres so many songs on this record that I have loved for years and I think I’ll always find them inspiring.

Long Distance love - Little Feat

There are a lot of songs by Little Feat that I find inspiring. This one is one of the first songs of theirs I heard. Its beautiful. I love the lyrics and the sound of Lowell George’s voice.

The Long and Winding Road - The Beatles

This song feels sad and hopeful all at once. There’s something in the lyrics, melody and arrangement where it all ties together and feels right. It’s definitely a song that inspires me to write.

The Weight - The Band

Something about this song calms me. I’ve loved it for a long time. I listened to a lot of The Band in my first car. I’m sure I wore out the CD. There’s so many songs of theirs that I adore. They’re definitely a big influence.

Tenderness on the Block - Warren Zevon

I went head over heels into a Warren Zevon frenzy a few years ago. I find him fascinating and his lyrics and storytelling in his songs is so unique. I think this song is so beautiful. He wrote it with Jackson Browne, who I also love. It’s a style I feel really inspired by.

Rising pop girl AL1CE in Wønder1and comes back with her new single, ‘Heroin *sorta* Love’ set for release on November 14th, 2025. Following the success of her debut pop summer anthem, ‘Love Me Down’, AL1CE continues to expand her sonic world, this time diving into the intoxicating chaos of love and heartbreak through lush City Pop and Dream Pop soundscapes.

Born in Hong Kong, and now based in Dublin, the 18-year-old artist crafts music that transcends genres. Drawing inspiration from Doja Cat, Melanie Martinez, Beyoncé, Nicki Minaj, and Lana Del Rey, AL1CE blends vulnerability with vibrant pop textures, creating songs that feel as cinematic as they are intimate.

Heroin *sorta* Love is a raw exploration of emotional addiction, the kind of toxic love that feels impossible to let go. Mixing nostalgic retro-pop tones with dreamy modern production, the track captures the duality of beauty and pain that defines AL1CE’s artistic voice.

For her second single, AL1CE comments: “This is a song intended for broken hearts, written by a broken heart, in a bustling city. And that person is me,” AL1CE shares. “For this song, I want to express that toxic loves are just like drugs, you know it’s bad but you always want to come back for more. Maybe it’s all just like the lyrics said: ‘We shouldn’t begin / Just rot / Heaven or hell / I need to (know)’. I hope it resonates with anyone going through a tough time right now.”

Ferrari - Bebe Rexha

So, here we go. My first song is one of the very few Western pop songs I knew at a young age, back in 2018, when I was 11. This song is Ferrari by Bebe Rexha. It may not be her most well-known song, but something about its atmosphere, its production simplicity, the heavy emotion, and the climax of the chorus made me fall in love with it. I love how Bebe sings with strength in this song, and I’ve always found a similarity between my voice and hers. The imagery of the Ferrari, living the high life and moving fast but barely catching a breath, and the loneliness of running so quickly made it an emotional pop masterpiece, and one of my favourites.

Carousel - Melanie Martinez

Cry Baby, woah, what an album. I can’t describe how influential this album has been to my entire artistic persona. I love Melanie Martinez’s master-level storytelling and the profound social meaning behind these 16 tracks. Other songs on the album, like Mad Hatter and Mrs. Potato Head, are also bright gems not to be missed. But my favourite, and the most enchanting song for me, is Carousel. I love how she goes crazy so calmly, showcasing this exact dramatic contrast so perfectly through her music. A cute and pretty psychopath, for sure — and that’s exactly what makes me fall in love with this album. I find resonance in her craziness.

Empire state of mind - Jay-Z & Alicia Keys

The first rap song out of the ten! It might be a bit cliché to pick this song to represent the Americana side of my music taste, but I’m truly amazed by Jay-Z’s rap skills in this track. I’m not his biggest listener, but with this song, I’m in awe of his lyricism, wordplay, and punchlines. What stood out to me most, though, is his flow — how he scans through each word in such a rhythmic way that the long verses never feel boring, but instead fun and full of curiosity for the listener. I have to admit I fell in love with the rap verse even more than the chorus (I still love you Alicia Keys <3). The beat is simple, it’s the artists who make the song stand out. I really look up to Jay-Z’s lyrics and flow.

Sports car - Tate Mcrae

Young, young, young. Dance, dance, dance. Sex, sex, sex. Sports Car only came out this January, but it quickly became one of the most impactful songs in my musical journey. I’ve always loved songs that make people touch their own body and dance. When Tate McRae released this strong, sensual dance track, something clicked in me. It made me realise that I want to create songs like this, music so catchy and groovy it hooks you into its enchantment instantly, making one believe you’re the prettiest, sexiest, hottest person on the planet. I want to make music like that, and I’m on my way there. What an inspiration you are to me Tate!

Lip & Hip - HyunA

The fifth song is K-pop. I’m very international and I admit it, probably because of constantly relocating across different cultures growing up. K-pop has always been influential, as it was almost the biggest thing around me and my friends growing up. I chose this song by HyunA because it’s one of the earliest K-pop songs I came to know, and listening to it reminds me of the good old days, 2018, when the colours were so bright they almost hurt your eyes, and the music was so lively it made you forget all hardships. HyunA’s performance is undeniably charismatic. She sings, raps, and dances — she’s an icon and an inspiration to me. She proves that even as a soloist in a group-dominated K-pop industry, you can still shine the brightest and become your own ace.

7 rings - Ariana Grande

Girls can be sexy. Girls can be confident. Girls can buy diamond rings for their six favourite bishes. Ariana Grande is one of the most important musicians for people my age, we grew up listening to her. She was always there, giving us the ultimate pop experience. The first song I heard from her was Side to Side back in 2018, and that track made me fall in love with both Ari and Nicki Minaj. I picked 7 rings because it’s truly one of a kind. It’s bold, careless, and has an attitude. It’s “I’m rich, I spoil my girls, and F all the haters.” The boldness made me fall in love with this flashy Ariana. Her rap verse in this song also inspired me, reminding me that I can always showcase my rap skills in a pop track, and you can get hold of this in my debut single Love Me Down.

Everything is romantic - Charli xcx

Initially, I didn’t really like this track. I preferred Von Dutch and even the remix version of this song. But one day, I came back to revisit the original, and something struck me and I can’t move on, now it’s my favourite. There’s a sense of solitude amidst the complicated instrumental. The lyrics, the robotic repetition: together they create an emotional roller coaster. Listening to this song feels like being brought somewhere only Charli, only Brat, can take you. And I ask myself, “Everything is romantic, right?” It’s chaotic, it’s fast, but it’s also meticulously crafted. It has an atmosphere I can’t quite name, but it’s surely enchanting enough.

Drew Barrymore - SZA

Yes, I also listen to R&B, and this song is the one I listened to the most of the genre. Instead of her biggest hit album SOS, I found myself in love with Ctrl. Her voice is raspy, and the way she pronounces words is so unique. There’s something so cozy about her tone and the instrumentals that establishes this song for winter, the kind you listen to with a cup of hot chocolate, wrapped in an itchy sweater, in a cold cold temperature. The vulnerability in her delivery, and the effortless yet sophisticated flow of R&B, are things I deeply look up to. I hope I can bring that same natural fluidity and emotional depth into my own musical landscape.

Saint Pablo - Kanye West

Kanye West, however controversial he is, you can’t deny that he’s a genius, especially in music production. He may not be the greatest rapper; quite the opposite, his flow isn’t very versatile and often stays in the same tone. But the lyrics of this song show his sincerity, his confidence, and his attempt to build a conversation and communicate his thoughts straight to his listeners. He’s also a master at manipulating instrumentals, samples, and production, which can be seen in Bound 2. Saint Pablo is significant to me because I like its storytelling lyrics, clever wordplay, and the section where the beat drops and the rap stops, leading into Sampha’s hook (starting exactly at 1:28). It gives an almost sacred, spiritual feeling to listeners, and I invite you to experience it.

Tomorrow never came - Lana Del Rey & Sean Ono Lennon

Everything comes to an end, and so does this list of mine. After a series of distinctive songs, let’s rest our bones with Lana Del Rey’s duet with John Lennon’s son, Sean Ono Lennon, Tomorrow Never Came. This song’s album, Lust for Life, is my favourite from Lana. Unlike her usual persona: dark, sad, and emotionally heavy, this album feels like a fresh breath. It’s an outlook toward a bright, new life filled with happiness and hope. Tomorrow Never Came is folk and country; it’s easy, sleek, and relaxing, like an old fine wine you’d taste at a quiet, small dinner. The bridge is beautiful — Lana’s voice is loose and reminiscing, while Sean sings with pureness and sincerity. Everything is just, great. And with this, the list ends.

Eamon Brady has long been a secret weapon in the Irish music — a producer, mentor, and multi-instrumentalist whose work with artists like Junior Brother, The Whileaways, David Kitt, and The Spook of the Thirteenth Lock has shaped the sound of a generation. Now, with Half Light, his debut album, Brady turns that craft inward. Written in the still hours between night and morning, the record explores the tension between restraint and release, beauty and unease. Layering alternate-tuned guitars, modular synths, strings, and pedal steel, Half Light is both intimate and expansive — the sound of an artist finally surfacing, tracing the quiet undercurrents that have long driven his work.

The Half Light album launch will take place in Whelan’s, Dublin on December 10 2025

Nick Drake – Cello Song

This was the first Nick Drake song I ever heard. It opened a CD compilation I picked up in Top Twenty in Kilkenny (now Rollercoaster Records) around 1999 or 2000. I’d never heard an acoustic guitar sound like that — I’d never heard anything sound like that. I soon tracked down a copy of his debut Five Leaves Left, and those arrangements are seminal to me. The instrumentation never sits on top of the core sound of his vocal and guitar. It probably shaped me from a lyrical point of view also — it showed me another way to approach songwriting.

Radiohead – How to Disappear Completely

Can’t overestimate the impact Kid A had on me and my friends (and a big chunk of that generation obviously). I was about 18 at the time, and at first this track was the one I found most accessible, even with the relentless, dissonant strings I’m sure they borrowed from Scott Walker. I spent so much time with this record when it came out, but there’s one strong memory I have — on a flight, staring out the window at 40,000 feet, completely transported by this song. The role the River Liffey plays in the lyric too — I’ll never forget the crowd’s reaction when he sang that line in Punchestown on the Kid A tour. Anything was possible after hearing that record.

Sigur Rós – Untitled #1 (Vaka)

I was lucky enough to see Sigur Rós play this live the day before that album was released, in the Ambassador, Dublin. They played two nights in a row, and my friend and I went back again for night two. The whole experience was so impactful — incredible arrangements, space, and unique textures. This song, and the whole record, has had an impact on pretty much everything I’ve ever produced in some way. The fact he sings in ‘Hopelandic’ proves to me how important feeling and how you say things are — rather than what you say.

Björk – Cocoon

Another Icelandic influence — I think I came to this album after the Sigur Rós one, though. One of my favourite songs, if not my favourite outright. The rhythmic textures are sparse yet detailed. They sound so organic and weirdly human. The production is minimal and spacious. Björk’s lyric and vocal are ridiculously intimate — so close to the listener. Her breaths are loud and form an extra rhythmic texture. I just love everything about this song.

Caribou – Dundas, Ontario

I first heard this track on the Irish TV show No Disco — I could be wrong, but I remember Leagues O’Toole presenting that episode, and I’m 99% sure it was also the first time I heard Sigur Rós. Caribou was ‘Manitoba’ at the time — didn’t he legally have to change his name? Anyhow, this record is so important to me — as organic a production as you can get with something made using electronic instruments (for want of a better description). Totally redefined the rules for me.

Joanna Newsom – Emily

The opening track on her second album Ys. It was a new level of songwriting for me — a new take on form and structure. Joanna’s harp and vocal were beautifully recorded by the late Steve Albini, with the incredible string arrangements by Van Dyke Parks added later. They complement the core elements so well. Such a unique album and artist — lyricist and musician. Another level entirely.

Mark Hollis – The Colour of Spring

The opening track on his only solo record which I came to very late — around ten years ago. I wasn’t aware he’d made one until then. It has everything I love about Talk Talk (Spirit of Eden, Laughing Stock) and so much more. More acoustic elements maybe; even more space. It’s the hums, noises, and imperfections in that space that attract me so much to productions like this. Definitely a strong reference point for many of my productions now. Incredible stuff.

Adrianne Lenker – Terminal Paradise

This song made it on to a Big Thief record later, but it’s this version that does it for me more (the other is amazing too). The delivery sounds closer to the source to me. A really powerful song on a difficult topic — it captures what I imagine deep, eternal grief to feel like. So much beauty in something so painful. Produced with Luke Temple, they were very sympathetic to the live acoustic guitar and vocal. Amazing.

Rozi Plain – Symmetrical

It was hard to pick one song off this album. I love the whole thing so much. Again, a braveness in the approach here — in both songwriting and production. It feels to me as if her composition process is loop-focused to begin with — constantly reshaping and rebuilding over the core idea. It allows her to be very frugal with her words, while the polyrhythmic arrangements twist and turn in other ways. A very rewarding journey that I go on pretty regularly. I saw a great live show of hers in the Workman’s a few years back too. Can’t recommend this highly enough.

Buck Meek – Pareidolia

I first heard him play this live as part of a Big Thief set in Vicar Street in 2019. I had to wait a couple of years to hear it again when it appeared as the opening track of his 2021 record Two Saviours. I love the approach they took to recording that album — very live and tracked to relatively lo-fi tape. It’s a brave approach, and the results are so musical — both in terms of the performances and the sonics. A unique songwriter with so much personality and quirks in his delivery.

All Things Eve shares her personal petty anthem, ‘Cowboy Attire’ on Friday, the 3rd of October. Going through a slight change in sonics, Eve and her band are branching out from their formal folk-only formations. Adding hefty guitar tones, wily basslines, and fusing them seamlessly with hard-hitting lyricism and poignant vocals, ‘Cowboy Attire’ was written to leave a long-lasting impression.

Eve describes: “‘Cowboy Attire’ was born out of pure and deep-rooted resentment for an ex who I had caught cheating on me. It’s petty, it’s angry, and all my friends have indeed told me to finally move on from it. It is rare that I can channel feelings for such a long time after an incident like this, which proves that betrayal is just something I won’t ever be able to handle well. So I chose to channel it through this song.”

All Things Eve is a singer-songwriter originating from a small town in the west of Germany, who has chosen Ireland as her musical home in 2022. Intense and genre-blending, Eve’s songwriting encapsulates her own journey, reflecting on relationships, her queerness and her own becoming.

Since moving to Dublin, Eve has been an active part of the local live music scene, playing iconic venues and showcases such as Whelan’s, The Workman’s Club and Ruby Sessions. In September 2024, ‘June Moon’ was released, garnering significant attention throughout various Irish Media outlets, including Hot Press, GoldenPlec, Genuine Irish, and RTÉ.

In 2025, All Things Eve and her band have been busy with playing live shows and focusing on recording their debut EP, which is set to release in early 2026. Following a busy festival summer playing sets at All Together Now and Electric Picnic, they are part of this year’s line-up for Ireland Music Week in October.

• Jeff Buckley – Lover, You Should’ve Come Over
  If you have ever spoken to me about music, there’s a 95% chance I have mentioned Jeff Buckley, and my deep love for this song specifically. This is the track that introduced me to Grace, an album I return to at least once a week. There’s a certain quality of songwriting Jeff possessed that I haven’t been able to retrieve in any other artist or record. Lover, You Should’ve Come Over is lyrically unshakable, and encapsulating a huge range of emotions through its sonics. It’s hard to beat.

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• Dodie – She
  I watched Dodie grow as a songwriter and person via YouTube, all while I was growing up myself. When she first released a clip of this song in 2011, I was 13 and I remember crying while watching, realizing how deeply I related to it. Beautifully and simply written, and painfully relatable for any teenager going through their queer coming of age.

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• The 1975 – It’s Not Living (If It’s Not With You)
  This song has gotten me through multiple breakups. While I’m aware that it was written about Healy’s struggles with substance abuse, for me it’s a hopeful kind of breakup bop. The guitar riff is simply too catchy for tears. There were times I listened to this song fourteen times in a row, just to keep myself from bursting into tears on public transport. Matty Healy’s mysterious lyrics (e.g. “got a twenty stone monkey that I just can’t beat”) also did their part in helping me find comedy within the drama of it all.

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• Angie McMahon – Letting Go
  (Or really, the whole album this song is on.) I only discovered Angie in 2023, through the release of her sophomore album Light, Dark, Light Again, and I’ve been her biggest fan ever since. She’s played in Ireland twice since then, and both times I went to see her live. The outro of this song follows a repetitive mantra: “It’s okay, it’s okay, make mistakes, make mistakes”. I found this track at a time I really needed to hear those words, as simple put as they may sound now. At times it gets hard to believe that mistakes aren’t the worst things to happen in life, but rather an essential, important part of it all.

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• Matt Corby – Miracle Love
  “We got carried away”, this track musically emulates that exact line. The soft piano chord progression paired with oddly driven drums makes you sway side to side, creating space to listen to the heart-wrenching lyrics in the inbetween. Matt Corby has an undeniable ability to bring both music and lyrics into one boat and let them speak to each other, let them fight it out, create tension and release in the very same spot. ‘Miracle Love’ has been on my playlist for a long time and will always stay there!

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• Billie Marten – This Is How We Move

  Another gateway song. Billie Marten’s songwriting is something I deeply admire. My reference list is stacked with her discography. Beyond her instrumental abilities, her choices when it comes to vocals are always intriguing. ‘This Is How We Move‘ is one of my favourite songs to play when I’m feeling anxious, a reliable and old friend. Billie has been writing for most of her life, and it shows. I briefly met her after her show at the Button Factory in 2023, and she was incredibly sweet, and complemented everyone on being well dressed.

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• Bon Iver – From
  Bon Iver’s whole discography is essential to me, and For Emma, Forever Ago is one of my favorite albums. Justin Vernon is known for taking musical risks, challenging listeners to reevaluate whether they want to stay on board with each release at a time. And I love that. It’s a lesson I try to remind myself of as a songwriter: change is constant. His most recent album, ‘Sable, Fable’, struck a particular chord with me. In From, Vernon pleads for his partner to stay just a little longer. The collaborators (Jacob Collier, Jim E. Stack, and many more) speak volumes about the caliber of musicianship on this track and album and it’s audible throughout the song.

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• Leif Vollebekk – Rock and Roll
  I get to circle back to Jeff Buckley here and when I first found this song, I didn’t even know about it. I later learned that Leif Vollebekk wrote Rock and Roll after dreaming that Jeff was giving him a guitar lesson in a Manhattan rehearsal space. Easing the listener into the free-spirited setting of the track, the intro bars are laced with lush string arrangements and driven drums. With lyrics pointing at the highs and the lows of life’s happenings, a big blow in one line and a slightly nihilist, immediate relief by the next. The whole scheme of real Rock and Roll in one song, if you will.

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• Adrianne Lenker – Ingydar
  Adrianne Lenker, in my opinion, is one of the greatest songwriters of our generation. The way she weaves melodies in with such existential topics, her fragile vocals at the core and the duality between her own project and her band Big Thief. Ingydar in particular feels like poetry carefully crafted into song. The words are so deliberately picked, I always wonder how much time it took for this song to arrive in its final form.

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• Lizzy McAlpine – Vortex
  I discovered Lizzy in 2020, in the midst of the pandemic, and have been watching her rise ever since. Her sophomore album ‘Older’ in particular has been an absolute joy to re-visit on a regular basis, since I always find new discoveries beyond the obvious. Her songwriting is incredibly raw but always clever. Her vocal performance in ‘Vortex’ has brought me to tears multiple times, especially seeing live recordings of Lizzy and her band. It’s no wonder the woman was recently part of a Broadway production.

Broncos. Formed in Belfast as various other projects dissolved or never properly formed for Michael (drums) and Cameron (guitar/backing vocals), it wasn’t until Shane (vocals/bass) joined that Broncos finally took it’s shape. They heralded their arrival onto the scene with ‘Erode’, their anthemic post-hardcore debut single in September 2024. Follow up ‘Lights Out’ was release in January 2025, recalling the reckless intensity of At The Drive-In.

Now, almost a year to the day from their debut, they return with their third single ‘Lover’. Their most focused and visceral work to date. ‘Lover’ is a ravaging 2 minutes 45 seconds that balances post-hardcore screams from Cameron and Michael, Shane’s more angelic soaring vocals, pummelling rhythms and a neck snapping stadium moving chorus. It’s a more complex sound than previous, fully exploring the post-hardcore spectrum and incorporating subtle synths to help add depth and dimension to their sound. Lyrically ‘Lover’ addresses the push pull duality in a relationship, the ambiguity that can surround a situationship juxtaposed against the desire for something deeper and more meaning, while protecting yourself in the face of potential/inevitable heart break Staying true to the DIY ethos at the heart of the band, ‘Lover’ was recorded in the band’s practice space with Shane at the controls. Mastering was completed by long time collaborator Dan Coutant (Drug Church, Coliseum).

Catch the band live here:

Oct 17th Dublin, Fibber Magees (downstairs)

Oct 18th Belfast, Ulster Sports Club

Nov 21st Belfast, Deers Head

MICHAEL:

• At The Drive-In - Cosmonaut

  I saw a live video for this song somewhere and was totally blown away. At The Drive-In are everything a band should be to me, their live shows were visceral explosions, an unbridled release of pure energy. They played like they hated their instruments. A whirling dervish from the outset, everything felt vital and important. Tony Hajjar instantly became a massive influence on drums for me, he has a really signature style that really compliments Omar and Jim’s more angular playing. When I started playing guitar they were very influential in terms of sound and song writing and that’s something I’ve carried through to Broncos both on drums or if I’m writing for us. When Relationship broke they were being heralded as ‘the next Nirvana’ and for once that didn’t feel like hyperbole. It’s a shame that things went all VH1 behind the music, but at least we were given Sparta and Mars Volta, again both massively influential on me in terms of song writing and drumming. I could genuinely write an essay about those three bands.

• Pretty Girls Make Graves - Speakers Push Air

  It sounds kinda hokey but this song came into my life at the exact right time. My bass player made me a tape that was full of all this American underground punk rock stuff, which I already loved but had moved away from. At the time I’d be listening to a lot of stoner rock and making a lot of bad decisions, I was really sick of it all and bored with that whole thing. It had all got very stale and every band felt cookie cutter copies of each other. So I hit play on the tape and it opened with Speakers Push Air. That little synth line that opens the song gives way to some pretty picky guitars and then it’s on. It’s only two and a half minutes, but over that run time, just like the sentiment expressed in the song, it reminded me why music was so great, why it changed my life and why it was so important to me. It sounded so fresh, the two guitars playing off each other, angular but melodic, a far cry from the droning bluesy rock riffs of what I’d be listening to, while drums hammered away driving things forward. This band mean the world to me, I got them tattooed on me. Even to this day, when all the other things that surround being a band, stress of booking shows, doing PR, managing social media..all the shit, start to feel like they’re detracting from why we all do this in the first place. I still go back to this song and Pretty Girls remind me ‘Do you remember when you could not put it away, do you remember what the music meant’ and nothing else matters when I turn it up loud.

• Bullet Train to Vegas - Drive Like Jehu

  This was another band that came off that tape. Akin to At The Drive-In, Drive Like Jehu just feel explosive and visceral, like a car you can barely keep on the road, skidding around the asphalt, squealing rubber, bouncing up on two wheels and somehow landing completely unscathed. I knew John Reis from Rocket From The Crypt but this is a whole other snarling beast. The way he plays guitar in this band left an indelible mark on me as I started to venture into playing guitar, noisy, abrasive and full of attack, it wasn’t trying to be pretty but there was still melody, it wasn’t trying to be heavy but there was an inherent heaviness to it. Mark Trombinos drums are insane, I love his approach to his kick drum patterns, he does little skippy thing I use/borrow/have stolen and use it all the time. Oddly, not dissimilar to Tony in At The Drive-In again. Obviously these bands all feed at the trough of Fugazi, Rites of Spring etc and I’ll take a bite of that sandwich any day. This lead me to Hot Snakes, Pitchfork and a whole host of other bands that were doing because they loved it and because they had to. I should mention that the ethics and DIY approach behind all this music were and still are so important to me, this music was transformative for me and set me on the path I’m still on today. The DIY approach, making your art, getting on stage, getting in the van and contributing to your scene, putting on shows, giving people a platform, helping bands with PR/art..whatever, that all means the world to me.

• To Our Friends In The Great White North - Botch

  It’s fucking Botch.

CAMERON :

• Boiled Frogs - Alexisonfire

  Alexisonfire have been one of my top bands for over a decade now and have always been a heavy influence in the direction I wanted to go with the band. You can imagine my delight when Shane came on board and Broncos took shape, that he was also a big fan, allowing us to pressure Michael into coming to the most recent live show in Belfast as a mandatory band outing. What has always drawn me to them has been the vocal dynamics, the screams and cleans, the chaotic and melodic. I’ve seen countless bands do this but no one does it quite like Alexis, seamlessly going between hardcore verses into sing along stadium choruses just hits every chord I’m looking for.

• AFI - Dancing Through Sunday

  Another band that has been with me since I was an angsty teenager has been AFI. Particularly this era of the band with the sharp, stabbing punk guitar work, thick slapping bass soup and again, the vocal work takes you from a gritty verse into a beautiful chorus. I’ve always loved a band that can make drums, bass and a single guitar sound huge live, an aspiration for all of us at Broncos to push the wall of sound at shows.

• Glass Built Castles - Black Peaks

  I came across these guys by complete accident in a playlist one day and was blown away by what I heard, thankfully getting to see them twice before they disbanded. The guitar work was phenomenal and I bought their guitar manuscript and immediately tried to work my way through it (I struggled A LOT). I’ve always been a sucker for a pulled back, floaty clean verse that just makes the chorus hit you like a tonne of bricks. The vocal range this album features is incredible, further reenforcing my love of a bit of scream/clean mixture.

SHANE:

• River Below - Billy Talent

  When I think of influences - what I’m listening to recently is always at the front of my mind, however, this band and this track is probably as far back as it goes in terms of what influences me. My buddy at school lent me Billy Talent 1 & 2 on cd. The band literally changed my life. It changed how I play guitar, it made me start playing bass, they even changed how I listened to songs and think about music - the interplay of the guitar and bass working together with the drums. I was completely obsessed. River Below sums up what I love - tight choppy extended chords, chunky riffy leads, heavy and melodic call and response vocals. It’s heavy, it grooves, you can singalong, what more do you want?

• Hyperreal - My Ticket Home

  Found this band by accident a few years ago, they were fully ‘running on the spot’ metalcore when I did but ended up moving well away from that into this sort of dirty post grunge thing (which I adore). Again, it grooves, it’s melodic but keeps a heaviness there. It sounds and feels raw. Real guitars, real drums (hyperreal obviously), it just feels like you’re standing in the room with them but it’s polished enough that it’s still a pro quality record. Short and sweet too, all the fat has been trimmed off which I think is a bit of a lost art in itself these days. Seriously underrated band.

• Clean - Static Dress

  Super 2004/05 post hardcore vibe here, with a modern twist. Super choppy chords, driving drums, chaos vocals going back and forth with a big singalong chorus (a pattern is emerging here). One of my favourite bands of the last year. Once more it’s like being in the room with them while they play - I’m moving much closer to wanting songs (ours or other) to feel and sound real. It makes no sense to me if we don’t sound like we do on record, so thanks Static Dress for nudging me away from unbelievably digitised production, amp modellers and heinous snare sampling.

Laura Ryder is a piano-wielding songwriter and composer from Co. Mayo, who performs with a varying line up of talented collaborators under the name Laura Ampersand. For fans of the likes of Fiona Apple, Regina Spektor, Darwin Deez and Joanna Newsom, Laura writes piano-based songs which range from classical-influenced lyrical pieces to energetic full-band alt-pop arrangements. Vestigial, the band’s debut, was released in late 2017. Capable Of is their latest single.

Laura was raised on ELO, Johnathan Richman, classical composers and movie soundtracks, and everything in between. They were never too far from a piano, and always fascinated by lyrics, which culminated in songwriting and composing as a teenager. When not singing songs, Laura can be found composing music and sounds for video games and documentaries. Laura has supported the likes of BC Camplight, Síomha and Last Apollo, and played festivals such as Other Voices, Body and Soul, Electric Picnic, and Knockanstockan

24 is a chaotic space opera disguised as a baroque-pop song. Backed by sweeping string lines and an energetic piano-led band, impatient anxiously-attached lyrics lament general relativity and spacetime. Or maybe just an on-again off-again relationship. Basically, if Interstellar was another dejected pop song about feelings, it might sound a bit like this. Disclaimer: Laura Ampersand may or may not have any understanding of general relativity, the space-time continuum, or human relationships. But look, it has fake theremin in it! 24 was composed and scored in a bedroom, during a solitary lockdown stint. It was produced, recorded and mixed by the brilliant Alex Borwick, between Black Mountain studios and Sonic Recording Studios. It was mastered by Pete Maher.

• Fiona apple – Not about love
  
  The lyrics to Fiona Apple’s entire discography are tattooed on my brain. She changed how I play piano and write forever. She is a genius, and listening to her songs feels like standing in her giant genius brain, and that’s probably the best place you could spend an hour so. Her descriptions of the songwriting process and her motivations for songwriting really hit home with me. I picked Not About Love as it was probably one of the first Fiona Apple songs I heard, and kickstarted the obsession. The music video is good craic also.

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• Ben Folds Five – Erase Me
  
  Delightful divorce drama piano rock! I love how many moods and feelings this songs goes through. A speedrun of Ben Fold’s perhaps? But also listen to Still. And all of the Ben Folds music. I first heard Ben Folds music as a child when watching 2006s criminally underrated cinematic marvel called Over The Hedge. This is probably a very strange way to become a fan of Ben Folds. Since then, I have branched out to listen to Ben Folds outside of the film Over The Hedge also. From the piano rock of Ben Folds Five (it’s funny because the band has three members) to his brilliantly orchestrated-heavy solo stuff, it’s all great music and great lyrics!

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• Regina Spektor - Chemo Limo
  
  Hello anti-folk-ish Regina Spektor era! This whole album, Soviet Kitsch, is so class and really shaped my tiny songwriter brain. I’m not sure when I first got the CD but it was on heavy rotation through secondary school! This song is such a beautiful emotional rollercoaster tragedy. I wish I could attempt to capture the complexities and tragic absurdities of being human in the same way Regina does. Not only does the song break my heart, but it also definitely makes me say the phrase ‘Crispy crispy Benjamin Franklin’ more often than I would if I had never heard it.

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• Owen Pallett – I Am Not Afraid
  
  E is For Estranged is the first Oven Pallett song I ever heard. I was waiting on a platform when changing trains to go somewhere, and this came on some discover playlist, and my brain melted. I just listened to it on loop for the remainder of the journey while feeling waves of fury and joy. I couldn’t believe I hadn’t been away of their existence yet, despite hearing having heard their incredible arrangements for MOST ALBUMS I HAVE HEARD AND LOVED. Check out the list of their contributions to other artist’s albums. Their song I Am Not Afraid breaks my heart every time. I wish to absorb a small percent of their magical arrangement powers.

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• Kate Bush – Cloudbusting
  
  How could you not be inspired by Kate Bush. What a songwriter, producer, lyricist, musician genius. Such powerful everything. I feel like I don’t have to write much here - her influence and importance as an artist is undeniable. What a fascinating human and artist who tells such important stories in her music.

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• Andy Shauf - Begin Again
  
  AAAAAAAA Andy Shauf. AAAAAA The Party. Need I say more?
  The Party was my gateway drug to the Andy Shauf cinematic universe. He writes such fascinating intertwining characters and narratives. And such amazing arrangements! It’s like eating popcorn that but every kernel explodes into a 3 course meal or something. I am also addicted to his most recent 2023 album, Norm. If you see me in person don’t ask me about it unless you want me to talk for a really long time and make you listen to it.

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• Kimya Dawson – My Mom
  
  Everything Kimya Dawson writes is perfect, the cascading hyper honesty, attention to the detail, and vivid imagery. No punches are pulled lyrically. This whole album was yet another formative one – Remember That I Love You is so goooooooood, alongside all Kimya’s stuff. My Mom is a great example of her work, jumping from tangible nightmare imagery, to heart-breaking accounts of reality, to childlike moments. She doesn’t shy away from battering us with the fragility of life and love.

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• Johnathan Richman – Abdul and Cleopatra
  
  Get up and do a weird little dance. It’s time to listen to Johnathan Richman. A musical champion unafraid to rhyme Cleopatra with lines like “I wonder where she’s at-ra” and “Wherever she’ll be at-ra”. All other songwriters are cowards. He’s so earnest and unafraid of cheese – a recipe for excellent bops. Listen to Johnathan Richman. Do it. It’s like going to therapy to meet your inner child but easier and cheaper, maybe? Maybe truly good music isn’t afraid of being funny in the process of existing. Having a sense of humour is important!

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• Sufjan Stevens – Goodbye Evergreen
  
  I ENJOY SUFJAN STEVEN’S MUSIC IMMENSELY AND WOULD LIKE TO SEE HIM LIVE PLEASE. Carrie and Lowell is such an incredible album. All of his albums are such incredible albums, lyrically and musically. I couldn’t pick one so here’s the latest song of his that I love, from his latest album Javelin. Hello, thank you for breaking my heart.

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• Electric Light Orchestra – It’s Over
  
  ELO – Out of the Blue was a hugely formative album for me. I listened to it again trying to pick a song for this list and just kept changing the song as they played. Here’s ‘It’s Over’ anyways, impossible choices were made. One of many bands I absorbed through osmosis through my Dad, alongside Johnathan Richman! Mr. Blue Sky was a regular fixture in dragging myself to school as a teenager. Big orchestral drama good times!!

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• Cheeky bonus track: Jockstrap - The City
  
  A later addition to the influences list, but GOD Jockstrap are unreal. This song is a good speedrun of their work! Very inspiring production wise. Turns out we have free will?! I need to go make weirder art.

  It was impossible to mention all the artists I wanted to obviously, but I’ll just throw some names here in a random order! Feist, Corook, Bombay Bicycle Club, Joanna Newsom, Lucy Rose, Darwin Deez, Villagers, Lump, Beirut, Björk, Little Green Cars, Julia Jacklin, Kraftwerk, Gorillaz, Wild Child, Los Campesinos, Peter and Kerry, We Were Evergreen, The Beatles (small unknown indie boyband) plus 100000000 more)

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London based singer, songwriter, artist and composer Tessa Rose Jackson shares her brand-new single “The Bricks That Make the Building”, available on all platforms Sept 9th. The track is the first taste of her forthcoming fifth studio album, The Lighthouse, set for release on January 23rd, 2026. A haunting yet life-affirming reflection on ancestry and belonging, the single sets the tone for an album that embraces intimacy, mortality, and the celebration of life.

• Aimee Mann - Save Me

  The opening phrase to this song. Is so good. That high bass, the boxy drums. It immediately sets a scene, paints a picture. I discovered Aimee Mann through her beautiful soundtrack work for the film ‘Magnolia’ and it inspires me up to this day. Something about the way she weaves melodies, there’s a playfulness in them, they are structured like conversations sometimes. And the arrangements are so melancholy and bittersweet in a ‘let’s sing along happily even though we’re all kind of lost’ way that I love so much.

• Ray Lamontagne - Be Here Now

  I listened to the album ‘Till the Sun Turns Black’ endlessly as a teenager. This song is a masterpiece. The piano line, the tension and release. The whole song feels like it’s breathing in and out like a big animal, all together. Obviously Ray Lamontagne’s voice is insane and he could probably sing over grinding metal parts and it would still sound beautiful. There’s something about the way the harmony moves in this song that inspires me a lot. That one unexpected change on the chorus that just makes the skies open up and tears roll. Everything that happens in the arrangement aids that feeling. I also love the imperfection in the strings, they are almost a bit scratchy here and there, not silky romance strings, and that makes them even more moving.

• Zero 7 - Home

  I first heard this track when I was at BRIT School and a group of fellow students chose the play it as their end of year performance. I had never heard anything like it, especially the incredible chord change on the word ‘home’. This expansive warm glow that just washed out of it and over you. I think I still pursue creating chord changes like that one in my work to this day.

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• Feist - The Bad in Each Other

  Anyone who knows me knows that Feist is one of my biggest musical heroes. This song opened so many little doors in my head. The earthy, woody quality to the sound. It’s cinematic, it’s bold. Leslie Feist uses her voice like no other artist I know, she is power and she is fragility and she is a little girl and a wise matriarch. This song is endlessly layered and I will never stop hearing new things in its tapestry.

• Nick Drake - Pink Moon

  I was late in discovering Nick Drake. As I believe the world was as well. I first heard Pink Moon on a soundtrack of a film and it totally intrigued me. Back then, I was quite picky in wanting albums to be very colourful and instrumentally dense and bounce around stylistically, and this album taught me the earth-shaking power of simplicity. I listened to it on headphones lying on my bed and wept all the way through. It was a big moment of musical education for me.

• Beck - Think I’m in Love

  I think there was a year in which I would only listen to Beck. Though I actually don’t think this is his best song (by far!), I was so obsessed with it for multiple reasons. It’s a lesson in simplicity, again. It is so sparse. That one note in the melody on ‘say so’ that carries the whole song through, like a little nugget that makes you prick up your ears and gives you just enough sugar to keep listening. That one sampled ‘boiiiing’ hit on the one that is just enough harmonic information somehow. It is just effortlessly cool. And Beck’s almost drawling, laid back delivery is just so alluring.

• Laura Marling - Song for Our Daughter

  Laura Marling is such a force of nature. I have learned a lot from her songwriting and especially her lyrics. She balances those ingredients so perfectly - the stark and the straight, and the poetic. She is fearless, and it shines through in her music. Song for Our Daughter has some pretty daring phrases in it, and she delivers them with such a confident, no nonsense tone in her voice that they hit home even more. I have felt personally spoken to by this song on many occasions, and this fearlessness is something I try to remind myself of when recording my vocals.

• St. Vincent - Cruel

  Again, another fearless female artist. Cruel is a great song. I love the way St. Vincent uses her voice, she has so many different textures and tones and she uses them all but it always feels very considered. Nothing is gratuitous, everything hits just right. It’s a very punchy, particular song and that makes it even more delicious. Her sticky, compact guitar tones are so nice and especially in contrast with the lush, romantic orchestral elements in this track it just makes it even more bad-ass. And that playful hook. Is just. So good.

• Flyte - Tough Love

  More recently, Flyte have been a very big influence in my songwriting. This song is deceptively simple, but when I learned to play it, it confused me for a second. Their choice of melody creates such a perfect little ‘crunch’ with the chords that makes it so infectious. I try to catch melodies like that myself when I write, especially in conjunction with a lyric that makes the crunch make sense. These lyrics are also just so powerful, and the harmonies make them fly even more.

• Laurie Anderson - O Superman

  I just love this piece. Laurie Anderson is someone I find unendingly inspiring, in the way she speaks about art and creativity. And life. This piece of music has such a calm assuredness to it. You will sit and listen. We will take our time. We have things to say. It’s playful, but so sad at the same time. And again, the arrangement is so sparse. The birds in the background (or are they bird-like synths? Or both?), I love them.

The Exact Same Kid is the moniker of Dublin born songwriter Alex Conroy, with his lyrically-driven blend of upbeat indie rock, The Exact Same Kid takes a tongue in cheek look at some of life’s more bittersweet themes of love and loss, of memory and of finding joy even in the most mundane moments. Originating on the folk scene, he found himself overly focused on using language cleverly, rather than the meaning he was trying to convey. Taking inspiration from a wide range of artists like Kurt Vile, Lou Reed, War on Drugs and Courtney Barnett, among others, The Exact Same Kid uses everyday language to craft songs that are more honest and better connect with his listeners.

Alex has performed alongside acts such as The Ghandis, Clara Byrne, Apella, The Blizzards, I Have A Tribe, Cathy Davey and Neil Hannon. Ultimately growing uncomfortable with the stillness and isolation that comes from being a solo artist, the desire for a bigger sound and more collaboration led to some years of experimentation. The Exact Same Kid is the result, a heavier indie rock sound that still retained the lyrical focus of folk music.

• Blink 182 - All the small things

  Blink 182 are probably the main reason I got into music. I had a friend who was obsessed with them and he started learning to play guitar, so I did too. I listened to them so much as a teenager that I think the music is ingrained in me, and I can still hear it in the music I’m making now all these years later.

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• Tallest Man on Earth - Love is all

  Tallest Man on Earth opened my eyes to what just one guy and a guitar could do and I went deep trying to emulate him - right down to his gravelly singing voice. The guitar playing here is beautifully intricate, but doesn’t get in the way of the vocal. The words are oddly dark but uplifting, and the rise and fall of the song is just perfect in my mind.

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• Doc Watson - Windy and Warm

  I am obsessed with this song and have been since the day I heard it. I have to get inside it. I play it every single time I pick up a guitar. It’s a compulsion. It’s been maybe ten years and I still can’t match Doc note for note. Even though my music sounds nothing like this it’s heavily influenced my guitar playing style. Chet Atkinson played it first but Doc Watson played it best.

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• Kurt Vile - Loading Zones

  Kurt Vile likes to say he’s the master of the turnaround. In the space of three and a half minutes he goes from saying that Philadelphia is dirty to ultimately deciding it’s beautiful. I love how this song is just about knowing your home town so well. It’s dirty but it’s beautiful - you own it and you know where you can get away with parking illegally. This song has attitude to burn, but it’s got that signature KV laid back lean too.

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• Delicate Steve - Butterfly

  Delicate Steve is like if a band made the guitar the lead vocalist. All the music is instrumental but it feels like there are lyrics there in a language you can’t understand. There’s no wrong place to start with Delicate Steve, but this track off his first album Wondervisions to me is one of his best. Loud, repetitive and full of joy.

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• Hiss Golden Messenger - Biloxi

  I’ve never been to Biloxi, but this song makes me feel like I have. It’s classic feel good Americana done right. The lyrics strike the perfect balance of personal and universal - I know that he means what he’s singing and that it also means something to me. There’s also a thread of people here that runs through some of my favourite artists - Phil Cook, Tallest Man on Earth, Bon Iver, May Erlewine - everybody’s talking. You make your own community.

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• Blake Mills - Hey Lover

  Blake Mills really knows how to drive a song, I’m hooked from the opening riff. There’s a looseness to this song that’s really refreshing, it’s not super polished and you can tell he’s just having a blast with the whole thing. The lyrics are sweet and there’s a bit of humour to them. I think I just really like it when an artist can be emotive and funny at the same time.

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• Andy Kaufman - Rosemarie

  This is going to seem like an insane inclusion, but if you can get past the obvious ridiculousness it’s actually a really nice version of this song. This is another one that I immediately picked up the guitar to learn. I’m a sucker for the falsetto and there’s a chord change in there that I’ve stolen and used several times in my own songs!

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• Demis Roussos - Forever and Ever

  Again with the falsetto. I think I first heard this when Steve Coogan and Rob Brydon featured it on their show The Trip. Sure it’s a little bit goofy but there’s something else there too. The arrangement gives it a really lush feeling, like being wrapped up in a big velour sheet on a shag pile carpet. It’s weird in all the right ways. Yes it’s cheesy as heck, but I still love it.

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• Frank Sidebottom - Guess who’s been on match of the day

  I wish I wrote this song. Comedy? Performance art? Who knows. I’ve thought about Frank Sidebottom on a level that’s probably unhealthy. A living cartoon character with a papier-mâché head who loved his home town and wanted people to know about it. But past that there’s a great story of someone who just did his thing regardless of who was watching or not. He released magazines, comics, made his own merch and never relented - he stayed true to who he was…or maybe wasn’t. As long as you’re having fun then nothing else matters. It’s Franks’s world and we’re just living in it.

Neosupervital, aka Dublin multi-instrumentalist and producer Tim O’Donovan, makes wonky electronic pop for the head and for the feet. He’s released 2 albums thus far, the eponymous Neosupervital (2006), and Battery Power (2010). After a bit of a break he’s releasing his 3rd in early 2026. It’s called Transporter and contains the singles Factory Presets, I.S.T.H.I.S.L.O.V.E., and the brand new double A-side single HAZY AFTERNOON / SIT IN THE SUNSHINE (WITH YOU).

HAZY AFTERNOON, a live favourite, is about chilling in the back garden with a mid-strength beer, trying to be a productive member of society but being distracted by the beautiful minutiae of the world, all set to a head-nodding synth funk groove.

SIT IN THE SUNSHINE (WITH YOU) is a woozy, dreamy, synthy almost-instrumental, the vocal refrain only appearing after the halfway mark, with shades of BOC, Air and Jan Hammer. One for horizontal listening in the back garden, preferably on a hammock, also with a mid-strength beer.

Both tunes are perfect additions to any sun-drenched Summertime playlist ☀️😎

In the past year Neosupervital has opened for acts such as Catching Flies, Stewart Copeland, Houseplants, Kazy Lambist and George Clanton. Previously he’s supported Money Mark (Beastie Boys), Thomas Dolby, Divine Comedy, ABC, St. Germain, Peter Bjorn and John, Hercules and Love Affair, Jaga Jazzist, Bob Log III, Moldy Peaches and has toured the UK and Europe as special guest of The Human League.

Fun fact: Tim is also drummer for Irish band BellX1 and a voice actor for ads and cartoons. Having just finished a co-headline tour of West Cork followed by Night + Day Festival, he’ll be playing Stendhal, Electric Picnic and Vantastival festivals throughout the Summer.

• Edgar Winter Group - Frankenstein

  First heard this epic tune on one of my uncle's 70's Hits compilation albums. It's got a filthy riff, synth solo, drum solo, acid breakdown, timbales, the lot. Sure what more could you want. Blew me away then, still does it for me now. Also, my funeral song. Fire my ashes off a mountain with this blasting please.

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• Pond - Sweep Me Off My Feet

  Produced by Kevin Parker (you can just tell by the drum sound), this is so swooningly epic, with its stacked harmonies, filthy synth bass, ace fuzz solo. Plus Nick Allbrook is a top frontman. It always puzzles me how they're not bigger. Check out Gum too, Jay Watson's own Tame Impala / Pond offshoot. Talented bunch.

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• Booker Newberry III - Love Town

  I defy you not to listen to this and not feel like everything's alright with the world, even if it's just for those five minutes twelve seconds. Now that I listen to the lyrics more closely however, it seems like Mr Newberry might be visiting a red-light district. But that synth solo! That funky synth bass! Sure look. Everyone's having a lovely time of it in Love Town.

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• Faith No More - Midlife Crisis

  One of my favourite bands. I always come back to them. I taught myself to drum listening to Angel Dust, The Real Thing, King For A Day. Mike Bordin's tribal open-handed drumming was mesmerizing to me. I had the pleasure of meeting him backstage at the Olympia once. Such a gent. I love how the rhythm track is based on a sample from Simon and Garfunkel's 'Cecelia', while at the same time the song is crushingly heavy, yet also melodic with a great lurching groove, plus synth, which always made them stand out. I also discovered other bands through FNM's eclectic and always on-point covers, such as The Commodores, The Bee Gees and Black Sabbath. And I haven't even touched on Mike Patton's vocal abilities.

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• Boards Of Canada - Dayvan Cowboy

  Could've picked anything by BOC, but this is the first time I noticed them using fuzzed out guitar, which they use so beautifully. Also love the heavy delay on the drums. It's achingly epic, aided by the hypnotic skydiving video. Their music is beamed in from another place. Often imitated, never equalled.

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• M/A/R/R/S/ - Pump Up The Volume

  When I first heard this I couldn't figure out what the hell it was. It wasn't the pop music that I was used to but I loved it. The space footage of the video further intrigued me. It was the start of faceless, electronic music for me. I also loved discovering the samples they used (which they never cleared apparently, hence never making another tune, as far as I know). That breakdown in the middle is sooooooo good.

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• The Kinks - Autumn Almanac

  My favourite ever opening line: "From the dew-soaked hedge creeps a crawly caterpillar". While I still love their bigger tunes like Lola, I'll always have a soft spot for this. I just love Ray Davies' observations of the minutiae of life. Also love the sad colliery brass when he sings "this is my street, and I'm never gonna leave it..." A song painting.

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• DJ Fresh ft. Ms. Dynamite - Gold Dust

  My go-to run-to-the-dancefloor tune. I'm a sweaty mess at the end of it. The double dutch video really brought an already brilliant tune to another level. Pure joy. Also love the distant train horn he stuck in at the very end, not to mention Ms. Dynamite's ace vocals. Check out the BBC Live Lounge acoustic version.

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• Nikolai - Ready To Flow

  This brings me back to tentatively buying my first dance records in long-gone Abbey Discs on Abbey Street, Dublin. I knew I loved dance music, but I also craved melody, and this jumped out at me when I tested it on the shop turntable. Love the popcorn synth melody, and the phasey synths pads. Always phase your synth pads.

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• Beastie Boys - Root Down (Free Zone Remix)

  I had Ill Communication on cassette, loved the original, but fell in love with this remix when I heard it. The drums are so punchy, love the chord sequence, I always wondered why my drums never had the same whack. Their producer Mario Caldato could do no wrong.

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Alternative rock band Motorcycle Display Team (MDT) have released a remastered version of their hit single 'Oh Country, My Country' ahead of their highly anticipated compilation album. The legendary band, which consists of Dublin drummer Morgan Condon, singer Steve (Steveknievo) Hinds and bass player Brad Larroquette, are re-releasing this stomper, on July 5th.

The single is based on how a person's location of birth is irrelevant.

Speaking about the single, singer Steveknievo said: "MDT is an international affair, first and forever we're just members of the human race. A person's location of birth should be trivial but they're nudged and cajoled a million little ways from the beginning to believing otherwise. Which seems to have dragged us to the present political spiral down into isolationism and xenophobia. Well fuck that."

The band's album, Populism- The Manifest Destiny of Motorcycle Display Team, is due for release on Friday 26^th September and it will be available digitally and on vinyl.

'Oh Country, My Country' will be available on all music platforms on July 4th.

• My Lovely Man - Red Hot Chili Peppers

  Morgan: Trying to pick a song from your favourite album is not easy, but I picked this one purely for Chad Smith’s drumming. The breaks and hi-hat work are so slick and unique to his powerhouse style of playing. He makes it sound so easy, but it isn’t. I’ve ripped off this style so much. If he ever heard me play, he might be calling his lawyer, or maybe not as I’m still a long way from his level of skill. Not only that, Flea and John Frusciante are totally locked into each other and the interplay between them is the outcome of a very special chemistry. This is a brilliant example of excellent musicians who are clearly in sync with their bandmates.

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• Three Days - Jane’s Addiction

  Morgan: Lots of people give credit to the Pixies for the ‘loud-quiet-loud’ structures to their songs, but for me, the band that had the best sense of dynamics and making a quiet song explode is Jane’s Addiction. Without question. The way this song builds and builds to the band all going for it in the climax is something I’ve never got bored of. You really get to hear the talents of all members shine through without showing off or becoming a jazz quartet. Plus, the song’s subject matter (a three day long threesome on heroin) is not something you often hear about in music. Years after first hearing it, I found out that Jane’s Addiction weren’t all in the studio together at any time during the recording of the album this song is from, Ritual De Lo Habitual. Add to that, the bass and guitar are single takes on this song. Dave Navarro has since said that he was so strung out, he has no memory of recording this.

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• Memphis Soul Stew - King Curtis

  Morgan: If I had to pick one genre of music to listen to for the rest of my life, 60s/70s Motown and Atlantic would be my choice. When I was a kid I found an old Atlantic compilation belonging to my father and this song was included on it. Given my parents really only listened to Irish country and showband music, this, for me, was a real find. What I love about this song is you really appreciate the role each musician plays and how it contributes to the song. The idea of adding each instrument in the same way as an ingredient to a food dish is so simple but brilliant. Not only that, when it gets going, it’s a proper banger.

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• Star Me Kitten - REM

  Steve: Automatic for the People was probably the first LP I was ever obssessed with. I had it on a yellow plastic cassette and completely wore it out playing it on my Walkman continuously for months on end before I went through their back catalogue of LPs. Star Me Kitten begins emerging from the mist with Mike Mills' sampled vocal on synth, like I'm Not In Love by 10cc. It has such a warm and dreamy quality that falls over everything like a sheet of stars drifting from the sky. Michael Stipe sings softly in a register that blends with the music like a lullaby. Back then I never understood much of what he was singing, instead I learned all the syllables phonetically and sang along whatever. It was always about the feel, the colour and the shape of the music that caught my imagination.

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• Soma - Smashing Pumpkins

  Steve: It's hard to overstate how much influence MTV had on our teenage musical tastes in the early nineties. After seeing the video for Today by Smashing Pumpkins I was hooked. Siamese Dream duly became my new squeeze and in particular Soma – again a kind of dark lullaby. It follows the loud-quiet formula that juxtaposes extremely sweet melody with thick layers of grinding fuzz feedback. The first time I tried to play songs on the guitar that I loved were from this album. I was so delighted to find it was possible. I recorded and overdubbed my guitar and vocals by plugging directly into our hifi headphone jack and layering tracks across the two tape decks.

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• Living In Another World - Talk Talk

  Steve: The Colour Of Spring for me is the sweet spot of Talk Talk's stellar repertoire. The tunefulness of the early synth pop married to the maturity of the later meditative and spacious albums. I particularly love how the key changes between the verses and choruses always make it feel as though the song continuously moves up through the gears. The bassline in the chorus is so distinctive, and in addition it also features perhaps the best harmonica solo I've ever heard. The live performance of this at Montreaux on YouTube is great. Mark Hollis was a true original. When he died a couple of years ago it really upset me in a way I didn't expect.

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• Big Eyed Beans From Venus - Captain Beefheart and his Magic Band

  Steve: Notorious for driving his excellent musicians hard to play weird and unorthodox structures and melodies often in synchronous counterpoint, coming to love Beefheart was an intentional and arduous journey for me in my twenties. With true unswerving loyalty to his own artistic sensibilities Don van Vliet was an inspiration, putting even his old friend Frank Zappa in the shade. This track is relatively traditional by his standards, from the very fun Clear Spot LP. Even so the red hot playing is evident here as the insistent slide guitar coaxes a sustained intensity that gives me tingles.

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• My name is Mud - Primus

  Brad: The instant I heard that bass sound I knew which instrument I wanted to play. It was as if Les Claypool was hammering and plucking an industrial sized dirty metal spring with every tap of his fingers one minute, and then smacking a broken drum in a cave the next minute. The echo synchronised and perfectly blending in with the drums, while the distortion took the lead. I never managed to play like Les, but it made me realise there could be a lot more to the art of playing bass than most bands would even consider. It felt like a novelty album in many ways but the percussive bass playing on this song and Hamburger Train were on another level to anything I'd heard before.

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• Repeater - Fugazi

  Brad: This song among many others the band produced managed to retain the anger and urgency of their punk roots, while fusing such captivating rhythmic hooks and grooves I just never get tired of them. There's urgency and intelligence to what they do but without the pretention or elitism that similar bands seemed to evoke. I love the way each instrument adds a distinct yet simple layer to the composition, each element works so well together; The dub inspired rhythm section keeps everything moving, and all the guitar needs to do sometimes is scream. This song in particular though seemed to remain catchy and succinct despite the fact it's structure evolves unexpectedly stripping all the layers down to a simple beat before eventually blending in to the next song as if it were some extended jam. The whole album is a masterpiece for me, I often try to imagine what fugazi would do when writing individual parts for songs.

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• Your Mama Wants Ya Back - Betty Davis

  Brad: It's hard to say how influential Betty Davis was since she was highly censored in the 70's and even blacklisted due to her explicit lyrics and provocative performances. But decades later and she's been called the queen of funk and widely credited as having introduced her husband Miles Davis to the world of Jimi Hendrix and Sly Stone. His shift in appearance, and musical style on albums like Bitches Brew and pioneering Jazz Fusion is often attributed to Betty Davis. My mum had this record and to me as a kid this album represented raw 1970's feminism. Though I found her eccentricities amusing, the music and her delivery had so much energy i imagine it could incite a serious riot if given the opportunity. I love the initial sparse bass groove that starts this song before exploding into longer and longer bass runs as the backing vocals and lead vocals all start to overlap. I don't know what happened to Larry Johnson, but i prefer his bass playing to Larry Graham's work on her first album. This album deserves much more recognition as a bold statement from a fiercely independant woman before the world was ready to listen.

June is an upcoming Irish singer/songwriter from Laois. Her songs span between alternative folk, pop and dance music with Irish traditional singing influences.
She is inspired by an eclectic range of artists including Clannad, Sia and David Guetta.

June is currently set on planning her debut album release at a later stage but is now focused on releasing some singles into the Irish music scene first to help build up her momentum.

• Saltwater - Chicane featuring Moya Brennan

  The emotive vocals sung in the Irish language are ethereal. The contrasting electronic instrumental is beautiful in its own right, incorporating synths and piano.

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• Alex Warren - Ordinary

  There is definitely nothing ordinary about this! It captures perfectly the magic and beauty of love in an otherwise mundane everyday life. It is like a gospel song, filled with awe and love.

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• The Sound of Silence - Simon & Garfunkel

  There is a beautiful simplicity yet profoundness to the lyrics and melody of this song. There is something prophetic about the song’s message, as though we are all missing or ignoring something important as we go through life.

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• Finbar Furey - Sweet Sixteen

  The Fureys Finest was one of the CDs played in the car on summer road trips as a child. Sweet sixteen is such a pure, honest love song. I love the way Finbar plays the Uilleann pipes. The beautiful music makes the song. My other favourites of the Furey’s were I Will Love You, From Clare to Here and Red Rose Café which conjured up images of honest working lives, love and camraderie.

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• Sia - Chandelier

  The vocal melody of the song soars to reflect the heartbreaking lyrics in this song. Sia’s amazing vocals sound effortless. I’ve seen videos of her performing this live and her vocals sound so heartfelt and natural.

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• Kodaline - High Hopes

  This song is about taking a chance again despite past heartbreaks. The overall tone of the song is hopeful and optimistic. If spring could be a song, this would be it!

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• Cian Ducrot - I’ll Be Waiting

  I love Cian’s emotive tone of voice and his beautiful melodies.

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• Tate McRae - Greedy

  I found it so hard to narrow it down to just of Tate’s songs. One of her earliest songs “You Broke me First” demonstrates her tone of voice and clever songwriting. Her vocals and use of vibrato are beautiful. Her style developed to more uptempo songs which are just as melodic and catchy. Ryan Tedder is incredible as a producer for her. I also love the acoustic version of the song “Greedy” because it shows her talent as a singer.

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• Jimmy MacCarthy - Bright Blue Rose

  It is a deep song which has an unusual but gorgeous melody. There is a mystique-like quality to this song.

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• Red Wine Supernova - Chappell Roan

  Just like the title, the vocals are so rich, full-bodied and evocative. The chorus is my favourite part, it is so anthemic.

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Bannered Mare formed in 2018 from the ashes of a previous outfit, Race the Flux, and borne out of a time mired by personal struggles with substance abuse and mental health issues. The band became a vehicle for founding member Joe Padfield (lead vocals/guitar) to explore the complex emotions around these issues and in doing so transmute negatives into a positive. Following a number of early EPs the band have returned, releasing singles ‘Synapses’, ‘Liminal Space’ and ‘Pet Particular’ in 2024, the former premiering on Amplify with Ailsha on RTE2XM. Following an Irish tour in February 2025 the band are now releasing new single ‘Hip Shot’. On ‘Hip Shot’ the band explore a darker, more tense sound than on previous efforts, living in the uneasy space before things release. The three guitarists weave a sonic tapestry amongst each other, providing multiple melodic hooks that give way to euphoric vocal harmonies all propelled forward by insistent drums and pulsing bass.

At the heart of Bannered Mare's sound is their undeniable chemistry and camaraderie as a band. Completed by Alan Kilcullen (drums/vocals), Paul Higgins (guitar/vocals), Derek Ellard (guitar/vocals) and Kyle Dee (bass/vocals). The band describe their music as ‘A reflection of the human experience, full of passion, emotion, and energy’. This is none more evident than on new single ‘Hip Shot’.

The writing process for the track started from what Joe describes as a ‘late night confession’. Lying in bed unable to sleep with a jangly guitar line playing endlessly in his head, he eventually relented and got up at 3am to record the music. One riff led to another and by sunrise Joe had penned the core of the song.

There is an inherent tension to ‘Hip Shot’ from the outset. As twin guitars play intricate complementary patterns that feel like a conversation, with each filling the space in the others melody. Euphoric vocal harmonies offer respite from the building tension, as the bass seems to offer a way through the darkness and Joe intones ‘the cats are screaming like an abattoir’. The band eschew a verse, chorus, verse structure in favour of taking the listener on a journey through various musical movements and motifs, offering numerous horizons as we build towards the neck snapping riff at the end. Lyrically, the track details the frustration of hitting walls in your personal life, in relationships, and within yourself. A reflection on the internal tug-of-war between wanting to connect and feeling completely isolated. There is a yearning imbued in the song, along with a quiet desperation to belong somewhere, to someone, to something.

‘Hip Shot’ and all previous singles were recorded and mixed by the band. Fully adopting a DIY approach to the process. The band set about sound proofing a steel garage where they would record drums during a three-day heatwave. Filling a daughter’s bedroom with various cabs, heads and combos and invading parent’s large sitting rooms to record vocals. Recorded and mixed by Joe the project becomes all the more personal.

Bannered Mare continue to carve out their own niche. Their ability to harness three guitars to blend complex melodic ideas and euphoric harmonies is the bands special alchemy. Somehow making it feel entirely accessible with hook after hook. Sonic bliss on record and a force of nature live, the band are becoming one of Ireland’s most vital and singular voices.

• The Damned - Stranger on the Town

  This band is the main reason I became a musician. My father introduced me to them when I was a small child, and I was instantly enamored with their punk sound. They became a constant presence throughout my upbringing ,the soundtrack to my life. I've seen them live probably 14 times, and the influence Captain Sensible had on my songwriting and guitar playing is immeasurable. This song in particular has always struck an emotional chord with me, as do all the tracks on this list. I'm a sensitive soul at heart, and my favorite songs are always the ones that ring that emotional bell. The outro on this track is especially uplifting, it's been there for me during some of my hardest moments, more times than I can count.

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• The jam - english rose

  This song really tugs at my heart. The sense of longing it carries is absolutely sublime, from the mood to the delivery, everything about it is masterfully done. There have been so many times I’ve put this on and slipped into a kind of fugue state, completely lost in the sauce.

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• ASIWYFA - BEAUTIFULUNIVERSEMASTERCHAMPION

  These guys really showed me what a modern post-rock band could do. They’ve had a massive influence on my songwriting and arrangements. More than anything, it's the uplifting and emotive nature of their music that left a lasting mark on me. That feeling has become ingrained in my own style, I’m constantly chasing it in my writing. It’s expansive, it’s hopeful, and it hits something deep.

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• Billy Bragg - New england

  I absolutely love this song, the songwriting is incredible. I've taken a lot of inspiration from Billy’s storytelling style. He has a way of singing about things we’ve all experienced, yet somehow he casts the mundane through a poetic lens. It’s honest, relatable, and beautifully crafted.

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• Elliott Smith - Single File

  This one’s another emotional standout. The verses have all the hallmarks of an Elliott Smith song, Beatles-esque in moments, yet still entirely his own. But for me, the outro is where it truly hits. The desperation in his voice is deeply moving. That entire album is perfect from start to finish.

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• Deafheaven - Come back

  When I first heard this song, I was floored by the vibe, it’s so tense and painful, I was immediately hooked. I must have played it on repeat 50 times when it came out. In terms of influence, I took a lot from its relentless nature, that driving, unyielding energy left a real mark on me.

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• Ponderosa twins plus 1 - bound

  This song is a real soul-warmer for me. There’s something about the songwriting, melody, and production that immediately wraps me in a blanket and lifts my mood. It’s comforting, familiar, and just makes me feel good, how could I not love that?

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• Hall & Oates - Shes gone

  I think this might be one of the best pre-chorus/chorus sections ever written, it’s top shelf. The way longing and sadness are wrapped in a pop-soul blanket, yet still hit with full emotional weight, is a testament to truly incredible songwriting. I remember the first time I heard it at a house party, I literally yelled, “What the hell is this?” After that, I listened to it nearly every day for a month.

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• Rival Schools - used for glue

  This song always transports me back to my youth, around 13 years old, when I wasn’t doing well in school, either academically or socially. I felt lost, alone, and overwhelmed by my emotions. This song gave me a release. It drives you forward as you listen, building you up and then letting you pour out your feelings on the chorus. Truly fantastic songwriting.

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• Pinegrove - Portal

  What can I say about this band? In my opinion, Evan Hall is one of the best modern songwriters. There’s something about his songs that always hit me right in the feelings — like a gut punch. Every mood the song aims for lands perfectly. This was the first Pinegrove song I ever heard, and I couldn’t believe what I was hearing. It was during the height of COVID, and it arrived at exactly the right time. I was in need of comfort, and this song delivered it in full. The meter changes are gorgeous, and the ritardando on the chorus hits so hard. Truly beautiful music.

Gold-certified, Choice Music Prize-nominated rock band The Riptide Movement return with their powerful new single “When The Sun Comes Up”, released on May 23rd. The track marks the band’s first new music of 2025 and offers an electrifying preview of their highly anticipated sixth studio album, set for release later this year.

Recorded at Orphan Recording Studios in Curracloe, Co. Wexford and co-produced by acclaimed Irish producer Gavin Glass, “When The Sun Comes Up” captures the band’s signature indie-rock energy—moody, anthemic, and emotionally resonant. Built on brooding guitar lines, a hypnotic bass groove, and surging drums, the track evolves into a euphoric crescendo that mirrors the lyrical exploration of time, memory, and change.

“We’re really excited to release our new song,” says the band. “It’s a song we’re all incredibly proud of, it has so much energy in it. We gradually increased the tempo throughout the track to build this ‘runaway train’ type feeling to mirror that sense of time slipping away. Lyrically, it’s quite nostalgic—there’s a bittersweet monologue-like quality to it that intensifies as the song unfolds.”

The single features poignant lyrics that reflect on impermanence and the fragility of human connection:
“We’ll dance the dance of the living dead, yeah the years are short but like I just said, there’s no pretending, the truth’s intense… when the drugs wear off will it still make sense when the sun comes up.”

The Riptide Movement, who burst onto the Irish music scene in 2006, are known for their genre-blending sound spanning indie, folk, blues, and classic rock. With five critically acclaimed albums—including the chart-topping Getting Through—and hits like “All Works Out,” “Elephant in the Room,” and “Changeling,” the band has built a loyal following through their authenticity, energy, and unforgettable live performances.

In support of the new release, the band will embark on a summer tour that includes headline slots at Forest Fest, Kaleidoscope, and Doolin Arts Festival, as well as a highly anticipated performance at Glastonbury and a special show at The Docklands in Limerick alongside The Waterboys. UK fans can catch them live at West Hampstead Arts Club in London.

With past performances alongside legends such as The Rolling Stones, Van Morrison, and Neil Young, and collaborations with both the BBC Orchestra and RTÉ Concert Orchestra, The Riptide Movement continue to prove themselves as one of Ireland’s most enduring and exciting rock acts.

"When The Sun Comes Up" will be available on all major streaming platforms from May 23rd.

TOUR DATES - Tickets available at https://riptidemovement.com/gigs/

June 26 – West Hampstead Arts Club, London, UK

June 29 – Glastonbury Festival 2025, Pilton, UK

Jul 4–6 – Kaleidoscope 2025, Blessington, Co. Wicklow

Jul 25–27 – Forest Festival 2025, Killimy, Co. Laois

August 17 – The Docklands (w/ The Waterboys), Limerick

• Rory Gallagher - Out of my mind

  We’re all big fans of Gallagher in the band and he has so many great songs but this one is my personal favourite, I love his guitar picking style, Rory’s vocals and the simplicity of the lyrics, it’s a great song. We have a great connection with Rory too. A great friend of ours Tony Colton produced Rory’s first two albums with his band “Taste”. Tony went on to produce our debut album “What About The Tip Jars?” many years later.

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• Creedence Clearwater Revival - Bad Moon Rising

  I love this band, it’s hard to pick a favourite song of their’s but I think ‘Bad moon rising’ is a great introduction to the band for anyone who has not listened to them before. Their songs are gold, great riffs, great vocals and they all have a great groove to them. This song was in the original ‘An American Werewolf in London’ which is a great film too.

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• Bob Dylan – Buckets of rain

  It’s really hard to pick just one of Dylan’s songs as he has so many iconic songs and he’s just an incredible songwriter, ‘Blood on the tracks’ is probably my favourite Dylan album and ‘Buckets of rain’ is probably my favourite song from that album. I love the drop tuning on the guitar and his fingerpicking style. For me Dylan is the best songwriter of all time.

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• Oasis - Whatever

  It’s a really big song for me and the strings are gorgeous in it, it’s the song that first introduced me to Oasis. Oasis were a really influential band for me, I remember queuing up all night outside HMV on Grafton St for a ticket for their 1997 Point Depot gig, the gig was epic, so much so that the very next day me and my friends set up our first band, we called it ‘the Relic’.

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• The Red House Painters – Have you forgotten

  I love this song, it’s just one of the most beautiful songs ever written, it always makes me feel nostalgic every time I hear it. There’s two versions of it but this one is my favourite.

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• The Faces – Ooh La La

  I think this is my favourite song of all time, if I could only choose one song I think it would be this one, there’s something special in it that really resonates with me, it’s the perfect song it has everything, its upbeat, it’s raw, it has a great sentiment, it’s nostalgic and it’s groovy as hell, I absolutely love it!!!

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• The Doors – L.A. Woman

  This band had a massive influence on our band, our first album ‘What About The Tip Jars?’ was massively influenced by them. It’s really hard to pick just one song from them but ‘LA Woman’ is a good one to start with, it’s got that great mix of blues and psychedelia and the band’s signature loose, improvisational style. It’s also got tons of space and like a lot of their songs they leave space for Morrison’s raw, roaming vocals and lyrics.

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• Tom Rosenthal – Run for the hills

  The first time I heard this song it literally stopped me in my tracks, it actually moved me to tears, I can’t explain why, some songs just have that magic, it’s just an absolutely beautiful song.

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• LCD Sound-system - All My Friends

  This song is incredible, I love how it builds on just two chords for the whole song and even though the song is over seven minutes long, I never lose interest, it’s addictive, I can’t get enough of it. It’s one of those songs that instantly transports me to another place, the lyrics are doused in nostalgia and the monologue delivery is epic, it keeps building throughout the song and ends in an unhinged crescendo, it’s such a clever song.

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• Neil Young - Hey Hey, My My

  We’re all big fans of Neil Young, he’s a great songwriter and I love this song, we do our own version of it too. We were lucky enough to support Neil Young in Cork a few years back, that was a major highlight for our band and to be on the stage for “Rocking in a free world” was a memory that will always live with me.

Woodsmen are an emerging Dublin based independent Folk-Rock band looking to make a lasting mark on the Irish music scene. The band was formed in BIMM Institute by songwriter Arron Woods (Rhythm Guitar/ Vocals) who recruited renowned musicians Cam Teehan (Drums) and Josh Hackett (Lead Guitar). They create an exciting Rock & Roll sound that honours the distinct history of Irish Rock merged with the philosophical freedom of the Folk landscape. Their implementation of considered melody will entice you to sing along to their songs regardless of how many times you’ve listened to them. The band's amalgamation of genre creates a nostalgically fresh and engaging sound, making you think you’ve been listening to them for years. Woodsmen pays homage to the Folk Rock sphere of the late 60s and early 70s, through the fusion of acoustic and electric instrumentation, earthy natural drum tones, the utilisation of harmonies and the multitude of electric guitar textures associated with country, roots rock and rock & roll,

Since their inception, Woodsmen have had the pleasure of playing alongside some of Ireland's brightest talent including Casey Harris (The 2024 Dublin Rose) and have had the privilege of playing support for the late Christy Dignam and Joe Jewell on their intimate acoustic show Some Songs and Stories. The band have had considerable success with features from renowned outlets such as Hot Press, IMRO and radioplay on Dublin City FM as well as multiple Spotify playlist adds from the likes of First Music Contact and Genuine Irish. They have garnered notable acclaim as a band capable of exhibiting exhilarating and versatile live performances having been booked for festivals such as Jameson’s ‘Whelan’s Ones To Watch’ and ‘Fair Days’ at Camus Farm. Woodsmen have played a range of live venues across Dublin while achieving multiple successful headline shows in Whelan’s.

With their third single ‘Brighter Love’, releasing May 16th, Woodsmen comment on the current, daunting social climate both within Ireland as well as the wider world. The song is a rock anthem against the growing acceptance of hate, homelessness and violence that makes everyday life all the more uncertain thus marking a new chapter on their journey through the Irish Music Industry.

• Born To Run - Bruce Springsteen

  Arron: The song is a fiery energetic, classic rock n roll track that encapsulates a yearning for freedom. Springsteen draws on his working class roots depicting a repressive town that will beat you down and take everything from you and with his ragged, gritty, unpolished vocal hammers home the need to leave, romanticising the prospect of potential escapism. The subject matter of class and escapism is similarly something we regularly try to explore in our music and for me Springsteen’s Born to Run and so many others is a key influence. In general Springsteen to me is a voice for freedom, wisdom and reason, when you listen to his music you feel part of it, it speaks to you. There’s an accessibility in his writing that I try to kind of learn from.

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• This Is - Aslan

  Arron: As a Finglas Native, the influence that Aslan has had on me, could not be understated. They were always on in the house, you know. For me, This Is, is so beautifully written, it takes you on a journey through all these different souls that are trying to find themselves and it’s so descriptive. It’s a fantastic example of marrying exceptional lyricism with melody. The live version from Made in Dublin 1999 in Vicar is one of the best examples of crowd engagement I’ve ever seen. It’s just an honest song and that's why Aslan are a band that are so beloved by the Irish people and more, because they’re an honest hardworking band that we identify with! For me Aslan definitely had an influence on the sound and feel we were going for on Brighter Love. May Christy rest in peace. What a voice both in and outside the song.

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• Let In Outside - The Bures Band

  Cam: A band I've recently come across that surprised me when I saw this particular tune was only released in 2023. Instantly I could hear some influence from the 70s giants such as Lynyrd Skynyrd, as well as elements of James Taylor demonstrated in the pretty masterful acoustic guitar performance throughout the whole song. Also a huge fan of songs with a harmonised lead vocal throughout the whole track!

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• Mellow Peaches - R.L Burnside

  Cam: For me, it all starts with the likes of R.L Burnside. One voice, one guitar, all recorded live - rough and ready. The infectious groove of this track is so impressive to me. You can really sense the dedication to his performance. At the core of my musical interest has always been the Delta blues, and this has been a standout track to me forever.

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• Lodi - Creedence Clearwater Revival

  Cam: It was hard to pick a song of the "Green River" album as my highlight track, but I opted for Lodi as it's a great reminder to me as to how talented John Fogerty was as a writer, not only at folk music, but pop music! Whenever this album is on, I find myself jealous of the people who would've heard this for the first time on the radio. The simplicity of the instrumentation on this particular song helps the melody shine through, one I find myself whistling pretty often. Creedence are a great example of an inspiration to our group too, always brandishing earthy tones and honest, narrative lyricism.

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• Subtle Art Of Past - Sarah Crean

  Josh: Love the blend of sounds in this. Great production. Her voice is amazing, and the percussive picking sound in the verses is like lovely branches hitting off a window in my ears. Catchy Irish Tune that feels like listening to Stevie Nicks through a wormhole to a parallel universe - one which I've had on repeat

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• Sundown - Gordon Lightfoot

  Josh: Recently been listening to this album all the time, feels like a good companion to the scorching weather we've been having. The glassy, tape-y 70s acoustics really stand out. Those harmonies when they come in hit you like a wave. Great songwriter!

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• Hey, Hey what can I do - Led Zeppelin

  Josh: Feels like a hidden gem to me, only for the fact I've never heard it until a few months ago. Nothing like finding a shiny new (to you) song from a band you feel like you've heard everything from. The unison Mandolin and bass riffs are particularly juicy. It's Led Zeppelin, needn't say much more.

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• Carole King - You’ve Got a Friend

• Arron: I chose this song because it’s a beautiful song that sums up loyalty and friendship. It’s so well arranged too, the way the song builds up in arrangement with the string quartet, James Taylor’s guitar, congas and Joni Mitchell’s backing vocals is stunning. The arrangement gets brighter towards the end and it correlates perfectly with the subject matter of being there for a friend in need. That album Tapestry is a phenomenal album, so powerful and delicate. I have worn out the vinyl. Carole King was such a big part of that Laurel Canyon Folk Rock scene of the 70s, which in my opinion is one of the golden eras of songwriting, a huge inspiration for us.

• Christine’s Tune - Flying Burrito Brothers

  Cam: The characteristics of this particular song are some of the most inspiring to country rock'n roll writers like ourselves. Percussive acoustic guitar patterns, lead lines taken by the lap-steel, and a song foundation so strong that even a tambourine can have a definitive and memorable part! The essence of this genre feels like it's made to be enjoyed in a live setting, something we strive to recreate through our own music.

Goldbug is the moniker of Irish/French artist Danilo Ward. Goldbug's story starts in the stagnant waters of an abandoned well, thriving but neglected since many summers ago; in the ugly oak tree, hollow and dying, yet a house for the living. Fascinated by insects, but just a little more by music, he relocated from the rural French countryside of Provence to Dublin city. Alongside playing bass in guitar bands (such as of all living things and Echo Northstar), it is there he patently crafted a collection of songs inspired by the isolated landscape of his upbringing, and all the creatures that call it home. Now living in the city, but nostalgic for his quiet youth, Goldbug found peace in creating songs that twist and turn to unfamiliar places, lush with sweeping strings, splashes of brass, dusty mellotrons, and his soft, hazy voice. Through delicately woven songs, Goldbug learns about the world and his place in all of it. Ambient sound collages, manipulated vibraphones, and heavy reverb soaked guitars are all a part of the one organism, hellbent not on surviving, but on thriving, in the murky waters of adulthood. Co-produced with Chris W Ryan (NewDad, Chalk, Just Mustard), and mastered by Heba Kadry (Bjork, Big Thief, Sufan Stevens), Pendulum, Goldbug's second single, follows an art rock tradition, with a sound that nods as much to the expansive compositions of Talk Talk as it does to the retro-nostalgia of Boards of Canada. Pendulum is at its core a sprawling piano sonata of sorts. Inspired by the musical onomatopoeia of the Bambi Disney Soundtrack, musical phrases and tones mimic the sounds of the weather. Rolling pianos are like a steady rain, choral oos project images of a wind swept landscape, and splashes of brass like thunder on humid summer evenings. An ambiguous chord progression, teetering on the edge between major and minor, dissipates into a spellbinding outro – an ethereal world where reverb-soaked bowed guitars, glitchy vocal samples, and percussive drums are all anchored by a piano solo. A reminder that nothing is ever constant – as the wind parts the clouds, warm rays of sun peak through – there is hope yet.

Goldbug will be performing with the Crash Ensemble June 15th at the National Concert Hall as part of Music Town, an event curated by Foggy Notions and supported by the Dublin City Council. With arrangements by the Crash Ensemble's Barry O'Halpin, this collaborative performance will showcase an interpretation of Goldbug's upcoming debut album Swings & Roundabouts, due in Autumn this year.

Boards of Canada - Happy Cycling

I have tested and can verify that Happy Cycling is a great song to cycle to. Music Has The Right To Children is my favourite electronic record and I could say favourite record full stop. I often think - can a record with no singing/lyrics be my favourite? But Boards of Canada create such a world to get lost in, why sing melody and lyrics when you can get a seagull to feature instead.

Bark Psychosis - Pendulum Man

This ambient closer was my introduction to ambient music. I thought it was so cool to have an ambient piece in a rock record context. At the time it was mind blowing that you could do that, I quickly realised you can do whatever you want - Vibraphone solo in the middle of a song? A song in 7/8 time? Bark Psychosis opened a lot of doors.

These New Puritans - Spiral

This record was produced by Graham Sutton of Bark Psychosis, and the arrangements and mix blow my mind to this day. I love music that is lush and gorgeous but with an underlying eeriness and menace, and this ticks all the boxes. This song really drilled home the feeling that the vibraphone is one of my favourite instruments and that I must spread this good word through my music too.

Robocobra Quartet - Correct

Chris W Ryan of Robocobra Quartet produced and mixed my record. I heard his music and straight away thought I wanted to make my album with him. I could tell he was into horns, more experimental leaning stuff, as well as being really good at more electronic stuff with his side project SORBET - all things that come up in places throughout my record. From first hearing Correct all the way to finishing a full album with Chris, it has been a journey I am super proud and thankful for. I have learnt so much from him.

Battles - Tonto

I became obsessed with Battles and more experimental music when I moved to Ireland at 18 years old, after having initially thought Sweet Disposition was where it was at. Battles threw me down the post rock/math rock hole for a while. I refused to write a song in 4/4 time for a while, and did come out of that hole with several odd time songs on my record, so that's nice.

Wintery Winds - From the Bambi Disney Score

I love this soundtrack, it is nostalgic to me, but it's also super creative. This song is like musical onomatopoeia - I loved how the musical phrases and tones of the choir mimic an icy wind. You'll hear this in my new song Pendulum, where I tried to achieve a similar effect.

Portishead - All Mine

Having been a bassist most of my life, it's easy to fall in love with Portishead's grooves. Elements in their songs sound very raw, kinda bad, but in a great way. When we were making my record, I had never thought of keeping anything from my demos, because I had recorded stuff with little know-how and good equipment at home. I was expecting to go into a studio and record everything from scratch, but Chris thought otherwise. There was a special sound in the demos, and we decided to keep a lot of it, which was a great call from him. The gritty fuzziness to some records is what makes them.

Yo La Tengo - Our Way To Fall

Yo La Tengo just write great songs that hit me in the feels. A band I bonded over with of all living things, with whom I have been playing bass with for years.

Sigur Rós - Svefn-g-englar

I got bored of playing bass for a while and thought of bowing the bass to keep it interesting.. Seeing Sigur Rós bow the guitar and create such cavernous sounds was awesome to see. I picked up a second hand cello bow and started to bow on my bass. Pretty quickly I took the bow to my acoustic guitar one day and thought it sounded quite like violins. The bowed acoustic guitar sound is all over my record, I thought it filled in some gaps in places where I thought a string section would be nice, but did not have the budget to record one. That sound is most obviously on my first single Losing The Swing.

Low - Shame

When I get too caught up in making things complicated, I listen to this.

Carl Small is a Belfast-based music producer and audio engineer celebrated for his eclectic and immersive production style. Working primarily out of Analogue Catalogue Recording Studio, a renowned residential analogue facility in the Mourne Mountains.

Carl blends vintage warmth with modern sensibilities to craft emotionally resonant and sonically rich recordings.

Carl has worked with a diverse roster of artists including Mob Wife, Mark Loughrey, Laytha, and his own alt-rock band Lord Jane. His projects span a wide range of genres, from raucous post-punk to delicate folk, always grounded in a deep respect for the artist’s voice and vision.

His approach to production is collaborative and intuitive, favouring live recording techniques and analogue gear to bring out the most authentic performance possible. Whether shaping a debut EP or engineering a full-length album, Carl’s hallmark is clarity, depth, and a raw, honest energy.

“How have you seen the Irish recording industry evolve post-pandemic?"

The post-pandemic period has definitely brought some noticeable changes to the Irish recording industry. There’s been a big rise in self-recording among artists, largely because they had to adapt during lockdowns. That’s stuck around and more people are comfortable tracking vocals or instruments at home now, and that’s led to a bit more collaboration between artists and producers across distances. At the same time, there's a real hunger for in-person recording again, and I’ve seen more artists eager to get into studios to recapture that live energy. It feels like there’s a stronger sense of appreciation for the studio as a creative space. There's also a growing DIY ethos that’s being met with better access to gear and knowledge. Overall, it’s a more flexible and open landscape now than it was pre-2020

"How has the rise of AI and machine learning tools influenced your production workflow, and where do you see them fitting into the future of audio production?"

They haven’t really touched my workflow to be honest. I’ve seen a few of the plugins that try to auto-EQ or compress stuff for you. I’m not sure how I feel about them yet. Part of me doesn’t really trust it, and another part thinks it kind of takes the fun out of the job. But I can see how it might be helpful for people just starting out, especially solo artists recording themselves without much production knowledge. My worry is that it could make people skip learning the “why” behind what they’re doing. I think they’ll have their place, especially as assistive tools, but I hope it doesn’t replace the hands-on learning that makes this work so rewarding.

"How do you handle the psychological aspects of coaxing the best performance from an artist?"

That’s honestly one of the biggest parts of the job and easily the trickiest sometimes. Everyone's different, so it's about reading the room and adapting. Some people need loads of energy and encouragement, others just need space and a quiet vibe. You start to recognise when someone’s getting too in their own head and might just need a break or to step outside. Other times, it’s about matching their flow and just going with it. At the end of the day, you’re trying to create a space where someone feels safe to really go for it, no matter how vulnerable or weird that might feel. That’s where the best stuff usually comes from.

"What's your strategy for maintaining project continuity when working across multiple locations and DAWs?"

I work mostly in Pro Tools and have a really consistent session layout and workflow, which definitely helps keep things organised. Whenever I’m working with people recording in other spaces or sending me material, I just ask for properly bounced stems and then bring everything into my own setup. That way I know exactly where everything is and can move through the session efficiently. It’s really about standardising your end so that even if the source is different, the way you work stays familiar

"What's your approach to incorporating mobile recording techniques into professional productions?"

I do a fair bit of on-location recording, and thankfully I’ve built up a mobile rig that’s solid enough to maintain a professional standard. You do have to accept that things might not be quite as pristine as they would be in a studio, but there’s usually a rawness or atmosphere that comes with that, which I actually love. I tend to lean into those imperfections because they often bring a sense of place and character to the recordings. The key then becomes making sure the mix still holds up, balancing that lo-fi charm with professional polish.

"As a musician too, what's your strategy for diversifying income streams beyond traditional recording and mixing?"

If you’re working in music full-time, diversifying is pretty much essential. My main income comes from recording and producing, but I also lecture part-time in music production and work as a stage manager or show rep for different events and promoters. It keeps things interesting and allows me to stay connected to different parts of the industry. Plus, it helps create a bit of financial stability in a line of work that can be unpredictable.

"How do you balance investing in new technology versus maintaining reliable legacy systems?"

I’m definitely a believer in “if it ain’t broke, don’t fix it.” I’ve built up a setup over the years that I know inside out, and it does the job well, especially when I’m recording on location. That said, I’m always keeping an eye out for gear that might add something new or solve a specific problem. But I’m not someone who’s constantly chasing the latest thing for the sake of it. New gear is great, but knowing your tools inside and out is probably more important

.

"Which piece of vintage gear in your studio has an irreplaceable quality that modern plugins just can't replicate?"

Plugins have come a long way, and I use a lot of them but there’s still something about touching a physical piece of hardware that plugins can’t quite replicate. The Trident Series 80B EQ has such a warm, musical tone that I keep coming back to. The UREI LA-4 is my go-to for vocals, it just handles dynamics in a way that feels alive. And lately, I’ve been using the Valley People 610 a lot on drums, it has a punch and character that’s hard to match digitally.

"What's your method for testing mixes across emerging playback platforms...are you a fan of the old Car Test?"

Absolutely, the car test is still part of the process for me. There’s something about hearing a mix in a different acoustic space that reveals things you might miss in the studio. I also check on small earbuds, Bluetooth speakers, anything I think people might realistically be listening on. Ultimately, it’s about making sure the mix holds up across different systems, not just in your ideal setup.

"What have you found works for you to stay inspired in an industry that's becoming more technologically driven?"

For me, it always comes back to the artist and the music. The tech is great, but that’s not what keeps me excited, it’s being in the room with someone and helping bring their ideas to life. I try to focus on that human side of the job. If I’m ever feeling a bit stuck, I’ll go listen to something that made me fall in love with music in the first place or watch a studio doc and remember why I do this

"What's your strategy for navigating the intersection of music production and social media?"

If I’m honest, I’m not great at it. I try to post when I’ve got a new project out or just to remind people I’m here and working, but I mostly rely on word of mouth. Most of the work I get is through people I’ve worked with before, or friends of friends. I probably should be better at the whole social media thing, but for now I just try to be consistent and share stuff when I can.

"How do you approach continuing education in a rapidly evolving industry?"

You’re always learning in this job. I watch loads of session breakdowns and interviews with other producers. It’s mad the amount of free knowledge that’s out there now. Even just picking up one little idea or technique from someone else can totally change how you approach something. I think it’s important to keep learning, just to stay sharp and avoid falling into the trap of doing things the same way every time.

"What's your method for building relationships within the Irish music community both in NI and down south? Belfast always seemed to have a rock solid scene no matter the decade?"

Being in a band definitely helps with that, but really it’s just about showing up, meeting people, and not being a dick. Go to gigs, chat to people, be approachable. I think if artists feel like they can be locked in a room with you for 12 hours and still feel relaxed, you’ll do alright. It’s a small enough scene and word travels fast. If you’re sound and easy to work with, people remember that

"Looking back, what advice would you give to yourself when you were just starting out?"

I’d tell myself to stop worrying so much about what everyone else is doing. Focus on your own thing, develop your skills, and the right projects will come. Everyone works at their own pace and comparing yourself to others doesn’t really help. Just try to enjoy the process and back yourself a bit more. Also, don’t be afraid to reach out and ask questions, people are usually more open than you think.

"What's the one bit of gear that you felt yourself taking that next jump up in your production work be it a mic or outboard or a deadly coffee machine"

A few years ago I upgraded my portable rig and that was a game-changer. I got the Universal Audio 4-710d and it just made my location recordings sound so much cleaner. It was a real step up. Mic-wise, I’ve got a Beyerdynamic M201 that I absolutely love. It’s a total workhorse! great on snares, guitars, strings, basically anything. And yeah, having a decent coffee machine in the studio doesn’t hurt either

Dublin based, Italian born artist Donatella Camedda (vocals/guitar) comes to us as a fully formed artist. Adopting the name Aryel Moon she is now ready to release her second single ‘Eulogy’. Drawing heavily on the flannel-soaked rock coming out of Seattle in the 90’s. Aryel Moon cite Hole, L7 and Babes In Toyland as influences alongside contemporary sounds from St Vincent and PJ Harvey to help shape their sound. ‘Eulogy’ draws on the influences, passes them through the Aryel Moon prism and projects something entirely unique. Coming in at 3 minutes, the track doesn’t waste a second in making it’s point. Lyrically, Donatella delves into her past to help vanquish demons that circle from previous trauma of manipulation and abuse. Through this primal scream of emotion, she is able to find liberation and rebirth.

When it comes to writing this is done in isolation by Donatella, preferring intimate moments alone to craft the song and hone melodies and lyrics before she brings it to the band. ‘Eulogy’ was one of the first songs Donatella penned for the project, and was completed before the band took the form we know today. To help bring the song to life Donatella turned to Stefano Vita (bass), with guitars and bass split between the two. Then, to give the song its heartbeat drums were handled by Nicolas Segio Raiman who recorded remotely in Argentina. For Donatella the writing process isn’t complete until the band adds depth and energy to the song, a punctuation mark that helps drive home the intent and underpin the emotion. The live band is now completed by Luca Masi (electric guitar) and Nando Alonso (drums).

From the outset ‘Eulogy’ is heavy with emotion, there are definite swathes of a young Courtney Love in the vocal delivery and melodic choice. A short, restrained intro of guitar and vocals that beg the question ‘Is this the end?’ and allude to being trapped without an end in sight. Nicolas’s drums join with a heavy tom groove that pushes the song forward. The band eschew a standard verse/chorus verse approach here opting instead to let the song build into crescendo after crescendo, each movement feels like a new wave hitting and crashing against the rocks. ‘Eulogy’ is a harrowing cry for freedom while being trapped in a seemingly unending oppressive situation. Donatella says; ‘Eulogy is a song about the suffocating effects of domestic abuse, manipulation, and gaslighting. Having your identity consumed to the point where you no longer recognise yourself, as if looking into empty mirrors.’ Dark as it is the song is subtly laced in hope, ending the cycle of abuse and in this finding rebirth.

‘Eulogy’ was recorded in November 2024 by Donatella and Stefano in the producer’s home studio in Dublin. The intimate setting allowed for a focused and collaborative process, with the two working closely to shape the overall vibe and sonic identity of the track. The artwork for ‘Eulogy’ is a deeply personal and symbolic image for Donatella, taken on a beach on a grey, overcast day, with muted tones and a dominant presence of black to evoke the feeling of grief, mourning, and emotional entrapment. The beach, even though it’s not fully visible, plays a silent role in grounding the image in a raw, natural space — reflecting the emotional bareness and rebirth that ‘Eulogy’ represents.

Aryel Moon channels the grit and emotion of '90s alt-rock through a modern lens, blending grunge, punk energy, and poetic depth. With a velvety voice that soars and scars, this is a strong debut from the band, who will no doubt take their place amongst the burgeoning grunge scene currently quietly taking hold in Ireland.

Catch Aryel Moon live:

7th June, Balbriggan Pride Festival

25th July, McDowell’s, Dublin

• Ariel, Babes in Toyland

  An obvious reference. This great song showed me the direction I wanted to take when I first started playing the guitar and writing songs. The slow rhythm, the opening riff, the crunchy yet aerial powerful vocals and the hypnotizing lyrics… rawness and elegance I could not resist. I was mesmerised by the full Nemesister album. Ariel was the first song I performed live in 1997 with my platinum hair and a far too loose guitar. This song, among other sources, inspired the artistic name I adopted for my music identity a few years later.

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• Rebel Girl, Bikini Kill

  Rebel Girl is a classic riotgrrl anthem, Bikini Kill quickly became a model for me of how punk, femininity and pure freedom could go hand in hand. The energy and positive message of this song keeps inspiring me to date. I wanted to play in a female band, I wanted to sing unapologetically, make my guitar louder than I could. There is a lot of this in my early music. When I finally managed to see Bikini Kill live in 2024 (I know, a long wait), I was also working on new songs and realised that their imprint is still inside here.

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• Rid of me, PJ Harvey

  First listened in a cassette, this song was a total blast and immediately placed PJ Harvey among one of my greatest music inspirations. The apparent simplicity of the song, the authenticity of the low-fi yet well-crafted sound, and the blasting energy left me with a desire to do something similar in music. PJ Harvey has been an inspiration since day one and her evolution keeps inspiring me, there are too many songs I would like to include but this one left an indelible mark in my music roots.

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• Violet, Hole

  Opening song of Live through this, I remember listening to Violet for the first time and thinking ‘this is perfection’. The sound, the voice and the lyrics carved a hole in my brain and heavily influenced how I wanted to write songs. Hole was a huge model of female grunge for me in an era where the scene was dominated by male bands. The chord progression of this song felt so familiar to me, I felt I belonged to this song, and to the entire album. That was the way I sang at that time, and it made me feel at home.

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• Little trouble girl, Sonic Youth

  Too difficult when it comes to Sonic Youth, I love them entirely. But this song became a nickname for me, as I identified with it and fell in love with Kim Gordon’s vocals and Kim Deal’s backing. This is a song I listen to regularly, and helped a softer part of my creativity come out when writing songs. A bit melancholic with beautiful rocking rhythmics, Little trouble girl was an inspiration for a song I wrote at 16 titled Bambola (doll in Italian).

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• Broken Man, St. Vincent

  I discovered St. Vincent only a few years ago despite she’s been around for a while. Her music has since dropped in my ears and Broken man especially. The dynamic of the song reminds me of PJ’s Rid of me, a dialogue between quiet but haunting parts and explosions of noise that make a perfect balance. Melodically, I like the way the vocals build up on a very repetitive chord progression creating a crescendo of sound and feelings, something I am also using in some of the songs I wrote recently.

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• Bodies, Smashing Pumpkins

  Love is suicide. The chorus of Bodies has marked one important aspect of my lyrics writing, especially in the early stages of my song writing, when my lyrics where quite pessimistic and dark. Well, I kind of improved on that aspect though there’s always some love, some death, some darkness here and there in my songs. Musically, I adore this song. It is often played nowadays when I need some inspiration to allow the rage and the soreness come out.

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• Desire, Fontaines DC

  Riffs again, I love them, and Fontaines do too. Desire is very close to me as I wrote a song in 2023 called Desire path, still unreleased, so the connection was immediate. But it’s not only because of the title, this song brings together poetic lyrics, a sombre tone and hypnotic rhythms, all aspects I also appreciate when writing about introspective themes. I have been listening to Fontaines DC a lot since Dogrel and grew my love for the band over the years. They’ve accompanied my stream of songwriting in the past two years.

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• Quietly, Guano Apes

  This song has such a growing energy, it’s a gritty love song that I loved to cover whit my Italian band Dreamachine around 2010. I listened to Guano Apes a lot in the 2000s when artistically I became Aryel (the addition of Moon is a later development), so there are elements of this band that you will find in my music. Sandra Nasić’s singing style has also influenced the way I sing, taking me towards some more melodic yet scratchy paths.

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• Dreams, The Cranberries

  I hadn’t realised how much The Cranberries influenced my songwriting until I moved to Ireland four years ago. Dream is an evergreen song and when I was writing my debut single Bluebell, I felt very connected with Dreams and the feeling of Irishness it carries within it. Bluebell comes after many years of writing but it’s the song I chose to debut with because it marks a new era in my music career, and this is thanks to Ireland and the sense of belonging I discovered here. The Cranberries are a must!

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Hannah McConnell is a Wicklow-based musician blending Folk, Indie-pop, and Rock into raw, emotionally charged soundscapes. Known for her poignant, heartfelt lyrics and captivating storytelling, Hannah’s music draws listeners into an intimate world where joy and heartbreak intertwine. Following the release of her debut single "Crocodile Tears" in June 2023, McConnell quickly became a rising voice on Dublin’s music scene. She has headlined renowned venues including Workman's and the Grand Social, performed at Whelan's Ones to Watch, supported artists like Calum Agnew, and Peter Richardson. In 2024, she released "The Letter", an upbeat yet bittersweet track that juxtaposes lively melodies with tender lyrical truths, blending vulnerability with memorable songwriting.

Hannah's newest single, “Topshelf”, was released on May 9 2025. The track was ‘written in a moment of desperation’. It captures the exhaustion of bleeding yourself dry for someone who only showed up when it suited them. It was a love that takes and takes, and one she kept forgiving. “Topshelf” in essence, represents the slow realisation that sometimes love demands too much.

‘Topshelf’ is a slow-burning ballad that draws you in with its raw vulnerability and quiet strength. Layers of guitar lines float through the song, gradually building into a swell of heartache that feels almost overwhelming. These haunting, soaring textures were the final touches added in the studio, a moment that was so intense, the first time Hannah heard them it brought her to tears. A steady, understated drum beat anchors the track, allowing her aching vocals and harmonies soar above. Every element of the track works together to create a space that feels weightless, but heavy with emotion.

• Nothing / Sad N Stuff – Lizzy McAlpine

  Lizzy McAlpine’s 2020 album ‘Give Me A Minute’ was probably the most significant influence I’ve had to date. This track, in particular, was one I listened to on repeat when I first started writing my own music. It was something about the rawness of her vocals, combined with the emotion of the lyrics, that stuck with me.

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• Orange Show Speedway – Lizzy McAlpine

• I had to include a second Lizzy song; she’s been the one artist I’ve listened to consistently over the last 5 years. When this song was released, it became an immediate favourite of mine. I sat down to learn it on guitar, and it was in open D tuning. It was the first time I had experimented with open tunings, and it would not be the last. The majority of the songs I write now are in this tuning, or a variation of it. I think an open tuning allows you to lean into the emotions of a song, and it provides a beautiful backdrop for the stories I like to tell through my music.

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• Both Sides Now – Joni Mitchell

  I first heard Joni’s iconic track in ‘Love Actually’, the classic Christmas movie. That

  unforgettable scene where Emma Thompson breaks down in her bedroom and pulls herself back together would not have stayed with me the way it did if it weren’t accompanied by ‘Both Sides Now’. That song introduced me to Joni Mitchell, who has since become a staple in my music collection. Her lyrics are poetry, capturing the complexities of life with honesty and grace. Joni takes incredibly personal subjects and makes them universal, and I try to bring some of that to my music.

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• I’d Have to Think About It – Leith Ross

  Leith Ross was another artist I listened to repeatedly when I first started writing in

  2021. Their honesty in their writing and the softness in how they express their emotions make their songs feel like whispered confessions. This song feels like they are sitting right next to you in the room; it feels like home. Their approach to lyric writing has had a profound impact on mine; their simple honesty taught me that vulnerability is often your greatest strength when writing.

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• People Always Change – Tiny Habits

  This track is one that influenced my track ‘The Letter’ massively. It’s one of those

  songs where the lyrics are heartbreakingly detailed, but the music itself makes you want to dance. This contrast fascinated me. I have a habit now of writing songs that sound really fun and energetic, but when you really listen to what I’m singing about, it could end up in tears.

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• Ketchum ID – boygenius

  Ketchum ID is a song I still love to sing with my two backing vocalists, and dear friends Keeva and Isobel. It’s full of stunning harmonies sung by Phoebe Bridgers, Lucy Dacus and Julien Baker, who each have influenced my music in their own right. But the three of them together are out of this world. Their blend has influenced how the three of us sing together, how we weave our voices and layer harmonies. It taught me that sometimes the simplest set-up of just a guitar and three voices can draw a room in. Those harmonies have become a core part of my music, bringing depth that I can’t imagine the songs without.

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• Change – Big Thief

  Change was the first song by Big Thief that I had ever heard, and it was the one that started my obsession with them and Adrianne Lenker. The folk nature of this song has inspired my approach to arranging some of my songs, allowing the lyrics and melody to shine through. The raw beauty of the acoustic guitar and vocals, combined, will forever be my favourite, and is something I’ve carried into my music.

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• A Better Time to Meet – Adrianne Lenker, Buck Meek

  Like I said, I’m obsessed with Adrianne Lenker, so she had to get an honourable mention. ‘A Better Time to Meet’, her duet with Buck Meek, is a perfect example of why. It’s a simple, heartfelt song where the soft guitar complements the story being told. Adrianne’s vocals are entirely free of any effects and sound absolutely perfect. Any imperfections only add to the song&#39;s weight. Listening to it has influenced how I approach my live performances and recordings.

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• Used To Be Friends – Searows

  I discovered Searows just when I needed to. I was at a really low point, and his songs felt like a lifeline. ‘Used To Be Friends’ hit me the hardest. The ambient guitars and the dreamy, floaty vibe create this bittersweet feeling; it puts a pit in my stomach in the best way. And then the lyrics on top of that pretty much destroyed me. Searows has this way of tugging at your heartstrings, pulling you apart and piecing you back together all at once, and his ability to do that is what made his music so important to me.

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• Love Letter From The Sea To The Shore – Delaney Bailey

  I often come back to Delaney Bailey. This song holds a sense of nostalgia, even on first listen. As you can probably tell, lyrics are most important to me, and I try to create a musical bed for them to lay in and allow them to be front and centre. This song does that beautifully, with the soft guitar melody and gentle piano intertwining to lift up the lyrics.

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Martin is an Irish singer-songwriter, hailing from Co.Down who exists primarily in a 1960s themed House of Mirrors, in which Lennon, McCartney, Dylan, Hendrix and Bowie have been my landlords.

McGuigan has travelled all over Europe with his music and has played hundreds of gigs and at festivals throughout this time. He has released three self-written songs on Spotify, Itunes, Amazon and all Good, Bad and Ugly streaming services near you! He has played live acoustic sets of original material on radio pretty often.

Martin McGuigan is now hoping to take 2025 by storm with a string of releases that he hopes will get him into big press and radio outlets in Ireland and overseas as he sets out to build his momentum.

Confessions Of An Idle Mind embodies the impermanence and ethereal nature of youthful invulnerability. It’s ostensibly a trippy party type scenario where you meet all these glorious, fantastical people that you only ever meet when you’re 19 and 20.

The age of wonderment and awe, where your friends are everything and we think they’ll last forever and that we’ll always be 19!

It’s partially cynical/partly wistful as now the narrator doesn’t have these types of experiences anymore and he literally feels like his “doors are closing”, he’s actually even getting a little nostalgic for that annoying, ‘Jay from The Inbetweeners’ type friend.

Some explanation on the track:

“Think too much

But not enough…"

This is kinda how we reduce ourselves to over-thinking, small-talk and stressing over the little things, but maybe sleep-walk and be a little passive about the major life choices.

"Corroded by the trash TV

Corrupted by the Thought Police

They’ll never give us amnesty.”

Reality TV was the social media of the day and the start of what Martin saw as a vacuous, dumbing down on intellectualism and independent thought or dissent, a monster that soon morphed and multiplied into Social media.

So “Fast N’ Furious, Days of Speed” is a bit of a drug wordplay whilst referring to the film franchise and the brilliant Weller Days Of Speed Live album.

“Chinese whispers and that heresy…” is the classic small-town gossiping and character assassinating that gets amplified by drugs and alcohol at a party. It’s also Martin outside a party trying to reassure myself that those sort of people are wretches, don’t take all their shit to heart and be so fragile.

McGuigan hopes that this track breakthroughs into Irish media outlets nationwide and overseas and sets the foundation of a strong 2025 ahead for this emerging artist.

She Loves You - The Beatles

I think this is the first actual song I remember never wanting to end, as everything seemed so addictive, intoxicating and going at breakneck speed. It was my introduction to, and beginning of, a life-long love-affair with The Beatles, and what better way to start…John and Paul, ‘eyeball-to-eyeball’ in duel-lead vocals and all mop-top falsettos? What’s not to love? I could’ve chosen any one of about 100 Beatles songs, but I’ll go with this, my first Fab Four love, as I still love it, all these years later, and for me its one of the few absolute ‘perfect’ pop-songs.

Bohemian Rhapsody - Queen

Admittedly, there’s some obvious ones on this. But then they’re obvious for a reason, eh? I remember my dad having Queen Greatest Hits I, II+III and just adoring ‘Bohemian Rhapsody’ as a child(Yes, it sent shivers down my spine) It just seemed as mad as a box of frogs jumping out of these Blaupunkt(German, so nice and reliable) speakers in our old, red, VW GOLF. It sounded like anything was possible on record then, and it still does today. Galileoooooo!!!

Live Forever - Oasis

“I said maybayyyyyyy…!” Just like my introduction to The Beatles, this was my first introduction to Oasis. It came out when I was a kid and I remember not knowing who it was, but just loving it, the almost sneering vocal was so singular, distinctive and grabbed you instantly. This was the same year of Mr. Blobby and Saturday Night remember. Liam Gallagher and Oasis gave that feeling of being lads off a council estate(because they were) and that if they could do it, so could you. Even if we couldn’t. I think that sums up what Live Forever means to a lot of people. It gave you that glorious swagger of youthful invincibility and a feeling being part of something bigger and transcendent as a child.

Paranoid Android - Radiohead

It’s almost like the Bohemian Rhapsody with its multi-sections, seemingly opaque lyrics and astonishing vocals, but it’s every bit as brilliant. I remember thinking, ‘How the f**k do they do that?’ and, to be honest, I still think that- ha! It’s bold, brave and totally forward-thinking, it’s the kind of song that once you get it, you adore it, the harmonies, the mad guitars!

Lilac Wine - Jeff Buckley

I loved Grace from the moment I first heard it, right from the opener, Mojo Pin but this cover that Buckley does is so ethereal and otherworldly. Its got great chords, instrumentation and his voice just croons and lilts in sheer mesmeric perfection for four-and-a-half minutes. This, is one of those rare, ‘better-than-the-original’ moments. What a talent.

Lovefool - The Cardigans

This, like ‘She Loves You’ is an example of sheer pop/rock perfection, albeit the desperate yearning of the protagonist is in a much more desperate and mature form of intoxicating love. It’s just a brilliant brilliant song, one I’m always sure to return to on Spotify. It’s tattooed into my algorithm and I couldn’t ever get rid of it even if I wanted to. Magic

I Love To Hate You - Erasure

I always preferred this to ‘A Little Respect’, I think it’s a far superior song. I loved it’s dramatics and the anthemic chorus. I think my aunt was into them and by osmosis it was one of them songs that seeped through and became an early musical ear-worm. This and The Lost Boyz Soundtrack. She must’ve been in her Goth/Wednesday Addams phase. Great song and I think Vince Clark is a bit of a genius

You’re My Waterloo - The Libertines

I remember their first two records coming out and it was like, ‘Yesss, guitar music is good again!”, but this one remained unrecorded as the band descended into anarchy and disbanded, so all I had was the Youtube video of this on demo, and I just found it magic. From Carl’s opening five-note motif, to the guitar solo outro - and everything in between - is just pure class. There’s a primal desperation in Pete Doherty’s voice that I found hypnotic as he told this melancholic tale about God knows what. Maybe a paean to Carl, It didn’t matter, but it’s youthful brilliance and exuberance at it’s finest and I don’t think they’ve ever bettered this demo version.

Made Of Stone - The Stone Roses

“It’s like scoring the winning goal in the FA Cup Final,” guitarist/songwriter John Squire once said of writing ‘Made Of Stone’ along with Ian Brown and, to be honest, I don’t think I can sum it up better. On the second-half of their glorious eponymous debut, it’s shimmering beauty has a timelessness that must’ve became as much of an albatross as a blessing as the years came and went without the band releasing a follow-up. The band themselves became their own impossible act to follow with this debut album from the Gods.

Let England Shake - PJ Harvey

An ex-girlfriend of mine introduced me to PJ Harvey at university. She had the ‘Stories Of The City. Stories of The Sea Album’, an absolute belter from start-to-finish. Her songwriting is absolutely exquisite, and I was gonna veer away from a Partridge-esque “Polly-math” pun, but that’s kind of what she is. She takes on a new concept it seems with each album, and almost like Daniel-Day Lewis, she will inhabit the musical ‘part’. And if that means learning the dulcimer and the Bolivian oboe, then f**k it! Which I love, because I’m way too lazy for that! And I’m not Polly Harvey, obviously! Haha She too is a bit of a genius.

Dublin Garage Psych duo Unique Freaks (aka THEE U.F.O) release a brand new single entitled Becoming Me, Becoming You! on Friday, March 28th which is once again released through the bands own Gelatinous Records as a free Digital Download and will be available to stream on all the usual platforms from March 28th.

The band are currently putting the finishing touches to their follow up album to last's years Beaming A Moments Reflection which received great reviews on release as well as making many end of year accolades.

About Becoming Me, Becoming You!

"I was struggling with who I was as a person, for the past 10 years (since dropping out of school at 17). I had found myself in a cycle of working crap jobs for a few months at a time, then leaving and getting stoned for months. It made me think about all the things I had hoped for as a 17 year old, but feeling like very little has changed since then. I think that’s something we all struggle with no matter what position we are in, ‘Is this what I wanted my life to be? Is this the person I imagined myself being?’ which begs the question ‘When am I becoming me?’. I want to be able to give as much love as I get, I want Beth to be the person she imagined herself being, We all need to be the best people we can be for ourselves and our loved ones. This song is for us and everyone who wants to be the best versions of themselves" Darragh Hansard

Funkadelic - Wars Of Armordegon

An anthem for the end days! Which are dangerously close it feels. This song is a thunderous road of momentum, a precursor to modern day psych rock. Eddie Hazel’s guitar playing is killer on the whole of the ‘Maggot Brain’ album but this takes the cake for me. I’ll be riding into battle with this one!

Tom Scott and The California Dreamers - Today

A song I stumbled upon while watching a video about sampling. I had heard the sample heaps of times but never had the urge to check it out, what a fool I was. A bizarre but beautiful mash up of 60s free-love acid folk and a sax soloist. The song and album is full with wonderful harmonies, bound to make you smile any day of the week.

The Flaming Lips - See The Leaves

I found it hard to get into The Flaming Lips over the years, until one faithful evening heading out to do some christmas shopping in 2022. A shrieking guitar and stoner-ish bass peeked my attention (not to mention the insane drums). I couldn’t believe this was the same band that sang about Jelly and Pink Robots. It sent me down a deep rabbit hole maybe it you send you down one too.

CAN - Bel Air

CAN, the best band to ever exist. Bel Air is a vast landscape that ingulfs you, you’ll get nestled into the groove and thrown into the air when it changes up. Future Days is peak CAN, Damo Sukzuki left shortly after recording the album to become a Jehovah's Witness. RIP (Kenji Suzuki was dubbed DAMO by a wexford man in 1969).

The Doors - The END

As vanilla as The Doors are I’ll always love them. I never thought about writing music until I watched The Doors movie, it turned 15 year old me into a pretentious Jim Morrison wannabe, before that I was just a measly drummer. I was a fan of The Doors since I was 8 (Tony Hawk Underground 2 turned me on) but never put any stock in them until watching that movie. The End opened up a ridiculous world of improv and theatre.

Gandalf - Me About You

A band Beth turned my onto. This song was originally written for The Turtles, and frankly their version sucks. This is the art of the cover, Gandalf completely make this tune their own, in fact I didn’t know it was a cover for months. A beautiful love song. If you like these guys check out - ‘The West Coast Pop Art Experiment Band’ and ‘The United States Of America’ some real freaks.

Charli XCX - Mean Girls

Brat summer continues. Pure fun, BRAT as a whole is incredible, but I picked means girls to throw here solely because of the ‘Owner of A Lonely Heat’ type piano break wtf! Haha.

Portishead - Silence

I’ve been a fan of Portishead since I was about 16, but Third didn’t resonate with me until I was in my early 20s. Beth Gibbons is one of my favourite vocalists of all time, I often try to rip her off but I don’t think it ever comes across any good. I think this song in particular was a big inspiration for ‘More, To Love’ on the ‘Glowing Friends’ EP.

Ty Segall - Ice Plant

Ty has been a massive influence on our music as a whole so It’s hard to pick a song to sum it up, but Beth’s been on a Ty buzz lately and she reminded me of this song, oddly we’ve be channeling it on the new album without even knowing.

Ween - Baby Bitch

Ween have been a fairly recent development for me. Chocolate and Cheese is great, and I think if we can learn one thing from Ween it’s to JUST HAVE FUN. Baby Bitch is pretty sad but also hilarious.